• Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155.  Grey background.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155. Black background.
  • Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155.
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. White background<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Black background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. <br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. White background<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Black background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Ancient Egyptian head of a Thutmosid Thutmose king, New Kingdom, 18th Dynasty (1550-1292 BC), Thebes. Egyptian Museum, Turin. <br />
<br />
The Eighteenth Dynasty of Egypt  is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Founded by Ahmose I who was suceeded by Thutmose I, Thutmose II, Thutmose III
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155.  Grey background.
  • Ancient Egyptian Gebelein cloth depicting a Nile boat scene, the oldest know painted fabric artefact, Predynastic Egypt, Circa 3600BC. Egyptian Museum, Turin. <br />
<br />
There are at least 4 boats depicted on this linen cloth : two small carft following behind two larger vessels. The two small boats are equipped trains with 8 to 10 oars. The bottom boat has 4 rowers with their oars but other oars hanging below the hull . The helmsman has a steering oar larger (left). Two cabins occupy the central space. Between them a person is sitting in the same position as rowers and a black line behind it may be an indication of an other oar. The upper large boat does not have rowers but a helmsman at the back. The curved stern rises high and ends with a decoration. Red and black horizontal lines appear to indicate the presence of a cabin with a flat roof. Front of the cabin a character is sitting on a kind of throne. It seems to wear something on his head while the rowers are bareheaded.
  • Ancient Egyptian Protodynatic burial vessel with skeleton, Circa 3000 BC. Egyptian Museum, Turin.<br />
<br />
With the begining of the sop called "Protodynastic" period coffins began to be used for burials. The wealthy had wood coffins which were expensive as trees are rare in Egypt. Pooer people were buried in baskets or clay coffins.
  • Ancient Egyptian Predynastic burial pit with deceased skeleton lying on side, Circa 3100 BC. Egyptian Museum, Turin.
  • Ancient Egyptian head rest for sleeping on, type 1 . Egyptian Museum, Turin. White background.<br />
<br />
Ancient egyptian headrests were used to raise the head whist sleeping. Padding was laid over the wooden headrest to make it more comfortable.
  • Ancient Egyptian head rest for sleeping on, type 1 . Egyptian Museum, Turin. Black background. <br />
<br />
Ancient egyptian headrests were used to raise the head whist sleeping. Padding was laid over the wooden headrest to make it more comfortable.
  • Ancient Egyptian head rest for sleeping on, type 1 . Egyptian Museum, Turin. <br />
<br />
Ancient egyptian headrests were used to raise the head whist sleeping. Padding was laid over the wooden headrest to make it more comfortable.
  • Ancient Egyptian fragment of blue pigment,  19-20th Dynasty (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Schiaparelli Cat 9929.  Black background,
  • Ancient Egyptian fragment of blue pigment,  19-20th Dynasty (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Schiaparelli Cat 9929.
  • Ancient Egyptian fragment of blue pigment,  19-20th Dynasty (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Schiaparelli Cat 9929. Grey background
  • Ancient Egyptian fragment of blue pigment,  19-20th Dynasty (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Schiaparelli Cat 9929. Grey background
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian shabtis doll, New Kingdom,. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian Protodynatic burial vessel with skeleton, Circa 3000 BC. Egyptian Museum, Turin. White background.<br />
<br />
With the begining of the sop called "Protodynastic" period coffins began to be used for burials. The wealthy had wood coffins which were expensive as trees are rare in Egypt. Pooer people were buried in baskets or clay coffins.
  • Ancient Egyptian Protodynatic burial vessel with skeleton, Circa 3000 BC. Egyptian Museum, Turin. Black background,<br />
<br />
With the begining of the sop called "Protodynastic" period coffins began to be used for burials. The wealthy had wood coffins which were expensive as trees are rare in Egypt. Pooer people were buried in baskets or clay coffins.
  • Ancient Egyptian Protodynatic burial vessel with skeleton, Circa 3000 BC. Egyptian Museum, Turin. Grey background.<br />
<br />
With the begining of the sop called "Protodynastic" period coffins began to be used for burials. The wealthy had wood coffins which were expensive as trees are rare in Egypt. Pooer people were buried in baskets or clay coffins.
  • Ancient Egyptian Protodynatic burial vessel with skeleton, Circa 3000 BC. Egyptian Museum, Turin. Grey background.<br />
<br />
With the begining of the sop called "Protodynastic" period coffins began to be used for burials. The wealthy had wood coffins which were expensive as trees are rare in Egypt. Pooer people were buried in baskets or clay coffins.
  • Ancient Egyptian head rest for sleeping on, type 1 . Egyptian Museum, Turin. Grey background<br />
<br />
Ancient egyptian headrests were used to raise the head whist sleeping. Padding was laid over the wooden headrest to make it more comfortable.
  • Ancient Egyptian head rest for sleeping on, type 1 . Egyptian Museum, Turin. Grey background<br />
<br />
Ancient egyptian headrests were used to raise the head whist sleeping. Padding was laid over the wooden headrest to make it more comfortable.
  • Ancient Egyptian fragment of blue pigment,  19-20th Dynasty (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Schiaparelli Cat 9929. White background,
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. <br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. <br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. White background.<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. White background.<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. <br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. White background.<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancientt Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancinet Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Pyolemic period (332-30BC).Turin Egyptian Museum. grey background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. close up<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. <br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey background<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Grey Background<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. Grey background.<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian glong neckedr jar  sealed with linen strips , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. White background. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. <br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian stele odedicated to Amon Re the "good Ram" by foreman Baki, limestone, New Kingdom, 19th Dynasty, (1290-1213 BC), Deir el-Medina, Drovetti cat 1549. Egyptian Museum, Turin. black background. Reign of Ramesses II.<br />
<br />
This round-topped stele is carved in low relief and painted <br />
in several colours. The pictorial plane is divided into two <br />
registers, the upper one containing two rams facing each <br />
other. The animals, with cobras rising on their foreheads, <br />
wear tall headdresses composed of two tall plumes with a <br />
solar disk at the centre. Between them is a small offering <br />
table with lotus flowers. The mirror image hieroglyphic <br />
inscription refers to the rams and reveals their divine <br />
nature as that of Amun-Ra. In the register below, <br />
foreman Baki is shown in the pose of adoration.
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1553. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. white background<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele showing Iti & Neferu receiving food offerings, First Intermediate Period, (2118-1980 BC), Gebelein, Tomb of Iti & Neferu,  Egyptian Museum, Turin. white background. Schiaparelli cat 13114.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Mourning Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 1435.<br />
<br />
In the lower register a cattle driver leads two cattle of different colours.<br />
These tempera paintings were on a crude mud and straw plaster and were of typical Old Kingdom tombs showing ritual offering scenes. The tomb was partly cut into rock with mud brick walls and vaults. The facade of the tomb had 16 columns looking over a courtyard sloping towards the valley.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. white background<br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian model of a funerary boat with oarsman and a sarcopagus under a canope, Middle Kingdom (1980-1700 BC. Egyptian Museum, Turin. Cat 1209. Grey Background.<br />
<br />
Funerary boats were probably believed to carry the deceased sould to the afterlife. Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty.
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin.   black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian shabtis doll of Nuneb , wood, New Kingdom, 18th Dynasty, (1538-1292 BC), Deir el Medina. Egyptian Museum, Turin. Cat 2676. Grey background. <br />
<br />
Mummiform holding agricultural implements (hoes); good modelling; polychrome <br />
decoration painted on white gesso: Wig painted black, face and hands dark red; hoes <br />
painted red; large usekh collar painted red and black. Hieroglyphs painted black. Text: Painted hieroglyphs, 7 rows around body. Chapter VI of the Book of the Dead. Tomb TT291
  • Ancient Egyptian statue of Pawer and his wife Mut, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. Drovetti collection. Cat 3057.<br />
<br />
Between the two adults is their son Samut in childhood nudity. The text specifies that the statue was commissioned by Mut.
  • Ancient Egyptian four sided capital dedicated to Hathor, limestone, Ptolomaic Period (332039 BC). Egyptian Museum, Turin. Grey background. Cat 7031. <br />
<br />
Hathor, goddess of love and beauty and wet nurse of Horus, is often portrayed frontally with bovine ears. She was also protector of the turquoise mines in Sinai and the guardian of the 4 cardinal points awhich is why she is depicted with faces on each side of the capital
  • Ancient Egyptian Stelophorus statue of Amenemipet, limestone, New Kingdom, 18th Dynasty, (1539-1292 BC), Deir el Medina, tomb of Ibu. Egyptian Museum, Turin. Cat 3038. Grey background
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Grey background. Drovetti collection. Cat 3139
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. black background<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey background<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. white background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. <br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 255
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. White background.<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Black background,<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. White background.<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Black background,<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. White background.<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Black background,<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Grey Background<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. <br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian , sandstone, New Kingdom, 18th Dynasty (1353-1336 BC, Thebes, Karnac. Egyptian Museum, Turin. Black background,
  • Ancient Egyptian god Bes jar, Late Period, 5th century BC.  Egyptian Museum, Turin. Drovetti collection cat 2553. Grey background;
  • Ancient Egyptian  decorated jar sealed with linen , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. White background<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian decorated vase , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian glong neckedr jar  sealed with linen strips , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Grey background. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian glong neckedr jar  sealed with linen strips , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian globular jar  with Kha's monogram , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Grey background. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian sealed incised decorated jar and support with Kha's monogram , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Grey background. Cat 8523.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian sealed incised decorated jar and support with Kha's monogram , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Cat 8523.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian Imesty or Amset Canopic Jar,  New Kingdom,  Egyptian Museum, Turin. Black background<br />
<br />
The canopic jars were four in number, each for the safekeeping of particular human organs: the stomach, intestines, lungs, and liver, all of which, it was believed, would be needed in the afterlife. Imsety, the human-headed god representing the South, whose jar contained the liver and was protected by the goddess Isis.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. <br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Among the 401 shabti found in this tomb were 36 overseerers, one for every 10 servants. These were maent to serve the deceased in the afterlife<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Among the 401 shabti found in this tomb were 36 overseerers, one for every 10 servants. These were maent to serve the deceased in the afterlife<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Among the 401 shabti found in this tomb were 36 overseerers, one for every 10 servants. These were maent to serve the deceased in the afterlife<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Among the 401 shabti found in this tomb were 36 overseerers, one for every 10 servants. These were maent to serve the deceased in the afterlife<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. white background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. black background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. <br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Chamberlain Hornakht, son of Mera, slimestone, Middle Kingdom, 12th Dynasty (1939-1759 BC),  Egyptian Museum, Turin. Old fund cat 1612.  Grey background<br />
<br />
A false door is an artistic representation of a door which does not function like a real door. They can be carved in a wall or painted on it. They are a common architectural element in the tombs of ancient Egypt,
  • Ancient Egyptian stele didicated to the swallow and cat by Nebra, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC), Deir el-Medina, Egyptian Museum, Turin. white background. Drovetti Cat No 1591.<br />
<br />
In the top register of this votive stele a swallow  (Hirundinidae) is shown perched on top of a shrine. An offering table is placed in front of it on the right side. The bird is called "the good swallow". In the lower register Nakhamun and Khay, Nebre's two sons, kneel in adoration in front of a large cat. They both hold a bouquet in their right hand, the left hand is raised in adoration before the good cat" (Houlihan,1996,87). The swallow and the cat both represent two minor deities, Menet and Tamit, who are  closely connected with the region of the Theban necropolis. It is unusual that this stele has been dedicated by Nebre, the royal craftsman, without him being depicted.
  • Ancient Egyptian stele didicated to the swallow and cat by Nebra, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC), Deir el-Medina, Egyptian Museum, Turin. black background. Drovetti Cat No 1591.<br />
<br />
In the top register of this votive stele a swallow  (Hirundinidae) is shown perched on top of a shrine. An offering table is placed in front of it on the right side. The bird is called "the good swallow". In the lower register Nakhamun and Khay, Nebre's two sons, kneel in adoration in front of a large cat. They both hold a bouquet in their right hand, the left hand is raised in adoration before the good cat" (Houlihan,1996,87). The swallow and the cat both represent two minor deities, Menet and Tamit, who are  closely connected with the region of the Theban necropolis. It is unusual that this stele has been dedicated by Nebre, the royal craftsman, without him being depicted.
  • Ancient Egyptian stele didicated to the swallow and cat by Nebra, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC), Deir el-Medina, Egyptian Museum, Turin. . Drovetti Cat No 1591.<br />
<br />
In the top register of this votive stele a swallow  (Hirundinidae) is shown perched on top of a shrine. An offering table is placed in front of it on the right side. The bird is called "the good swallow". In the lower register Nakhamun and Khay, Nebre's two sons, kneel in adoration in front of a large cat. They both hold a bouquet in their right hand, the left hand is raised in adoration before the good cat" (Houlihan,1996,87). The swallow and the cat both represent two minor deities, Menet and Tamit, who are  closely connected with the region of the Theban necropolis. It is unusual that this stele has been dedicated by Nebre, the royal craftsman, without him being depicted.
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. white background, <br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. black background,<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. black background,<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. Grey background.<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. black background,<br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. Grey background.<br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian stele of Djehutynefer, treasury Scribe, limestone, New Kingdom, 18th Dynasty, (1480-1400 BC), Thebes,  Egyptian Museum, Turin.  Old Fund cat 1456.<br />
<br />
The detail of the stele depicts the brothers and sisters of Djehutynefer. The inscription palces the deceased under the protection of Amon in the great temple of Karnak underlining that he is entitled to share offerings brought to the god.
  • Ancient Egyptian stele of Djehutynefer, treasury Scribe, limestone, New Kingdom, 18th Dynasty, (1480-1400 BC), Thebes,  Egyptian Museum, Turin. Grey background. Old Fund cat 1456.<br />
<br />
The detail of the stele depicts the brothers and sisters of Djehutynefer. The inscription palces the deceased under the protection of Amon in the great temple of Karnak underlining that he is entitled to share offerings brought to the god.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. Grey background.<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. black background,<br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. Grey background.<br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. <br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian Stele of Amenemope dedicated to Amenhotep I and Ahmose-Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1454. Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is dedicated to Amenhotep I and Ahmose-Nefertari by the 'Servant in the Place of Truth' Amenemope and Amennakht. The king and the queen are shown sitting on their thrones. Above the sovereign there is a solar disc flanked by two sacred cobras and their cartouches are shown to the right of each of them. In the bottom register Amenemope is shown with his son  Amennakht, who also was a "Servant in the Place of Truth", in the pose of adoration.
  • Ancient Egyptian Stele of Amenemope dedicated to Amenhotep I and Ahmose-Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1454. Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is dedicated to Amenhotep I and Ahmose-Nefertari by the 'Servant in the Place of Truth' Amenemope and Amennakht. The king and the queen are shown sitting on their thrones. Above the sovereign there is a solar disc flanked by two sacred cobras and their cartouches are shown to the right of each of them. In the bottom register Amenemope is shown with his son  Amennakht, who also was a "Servant in the Place of Truth", in the pose of adoration.
  • Ancient Egyptian Stele of Amenemope dedicated to Amenhotep I and Ahmose-Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1452. Egyptian Museum, Turin. black background.
  • Ancient Egyptian stele of Piamon who drowned in the Nile and was deified like Osiris, Ptlomemaic Period (332-30 BC),  Egyptian Museum, Turin. Grey background, Old Fund cat 1556.
  • Ancient Egyptian stele of Piamon who drowned in the Nile and was deified like Osiris, Ptlomemaic Period (332-30 BC),  Egyptian Museum, Turin. Grey background, Old Fund cat 1556.
  • Ancient Egyptian family stele of chief scribe Horhernakht, son of Khety, Middle Kingdom, 2nd half of 12th Dynasty (1850-1759 BC).  Egyptian Museum, Turin. Grey background. Old Fund cat 1613.
  • Ancient Egyptian stele of commander in chief Senebetysy, sandstone, Middle Kingdom, 13th Dynasty, (11759-1700 BC), Deir el-Medina, Old Fund cat 1629. Egyptian Museum, Turin. white background, <br />
<br />
Stet for the commander in chief of the city regiment of Sarenenutrt, son of Sainyt and his wife Senebtysy.
  • Ancient Egyptian stele of commander in chief Senebetysy, sandstone, Middle Kingdom, 13th Dynasty, (11759-1700 BC), Deir el-Medina, Old Fund cat 1629. Egyptian Museum, Turin. <br />
<br />
Stet for the commander in chief of the city regiment of Sarenenutrt, son of Sainyt and his wife Senebtysy.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. black background<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
On this round-topped stele, the deceased Pashed, <br />
"excellent spirit of Ra", akh-ikr, is pictured left, <br />
seated on a chair with lion's paws, smelling the lotus <br />
flower. The offering table holds a basket containing <br />
various offerings. A large open pomegranate, containing <br />
a great quantity of seeds, appears under the chair. The <br />
colours on this stele are well preserved.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. white background, <br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. .<br />
<br />
Khonsu sits on a cube-like throne and wears the solar disc and half-moon on his head. He faces an offering table piled with food and flowers. The hieroglyphic inscription reads: "Khonsu-in-Thebes, Neferhotep. Protection, life, stability and power surround him, like Ra. Libation for your ka with bread, beer, oxen and fowl."Lower register depicts two men kneeling in adoration. They face to the left: Nebre, whose title is kedw sesh "draughtsman" and his son, Amenemope."Give praise to Khonsu-in-Thebes by the scribe of Amun in the Place of Truth Nebra, justified in peace, he loved his son, Amenemope, justified".In the bottom register are the "Draughtsman-scribe of Amun in the Place of Truth", Nebre, and his son, Amenemope"
  • Ancient Egyptian stele dedicated to Re-Harakhty by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC), Deir el-Medina, Schiaprelli cat 6144. Egyptian Museum, Turin. Black background,
  • Ancient Egyptian stele dedicated to Re-Harakhty by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC), Deir el-Medina, Schiaprelli cat 6144. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele odedicated to Amon Re the "good Ram" by foreman Baki, limestone, New Kingdom, 19th Dynasty, (1290-1213 BC), Deir el-Medina, Drovetti cat 1549. Egyptian Museum, Turin. Grey background. Reign of Ramesses II.<br />
<br />
This round-topped stele is carved in low relief and painted <br />
in several colours. The pictorial plane is divided into two <br />
registers, the upper one containing two rams facing each <br />
other. The animals, with cobras rising on their foreheads, <br />
wear tall headdresses composed of two tall plumes with a <br />
solar disk at the centre. Between them is a small offering <br />
table with lotus flowers. The mirror image hieroglyphic <br />
inscription refers to the rams and reveals their divine <br />
nature as that of Amun-Ra. In the register below, <br />
foreman Baki is shown in the pose of adoration.
  • Ancient Egyptian stele odedicated to Amon Re the "good Ram" by foreman Baki, limestone, New Kingdom, 19th Dynasty, (1290-1213 BC), Deir el-Medina, Drovetti cat 1549. Egyptian Museum, Turin. Grey background. Reign of Ramesses II.<br />
<br />
This round-topped stele is carved in low relief and painted <br />
in several colours. The pictorial plane is divided into two <br />
registers, the upper one containing two rams facing each <br />
other. The animals, with cobras rising on their foreheads, <br />
wear tall headdresses composed of two tall plumes with a <br />
solar disk at the centre. Between them is a small offering <br />
table with lotus flowers. The mirror image hieroglyphic <br />
inscription refers to the rams and reveals their divine <br />
nature as that of Amun-Ra. In the register below, <br />
foreman Baki is shown in the pose of adoration.
  • Ancient Egyptian stele dedicated to the god Re-Harakhty by sculptor Ipy, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 7357. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, ODrovetti cat 1553. Egyptian Museum, Turin. black background,
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, ODrovetti cat 1553. Egyptian Museum, Turin.
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. <br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. black background,<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele showing Iti & Neferu receiving food offerings, First Intermediate Period, (2118-1980 BC), Gebelein, Tomb of Iti & Neferu,  Egyptian Museum, Turin. black background.  Schiaparelli cat 13114.
  • Ancient Egyptian stele showing Iti & Neferu receiving food offerings, First Intermediate Period, (2118-1980 BC), Gebelein, Tomb of Iti & Neferu,  Egyptian Museum, Turin. Grey background. Schiaparelli cat 13114.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin.  Drovetti cat 1579. Black background<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. . Drovetti cat 1579. white background<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin.  Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. <br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated by Pendua to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1564. Egyptian Museum, Turin. white background
  • Ancient Egyptian stele dedicated by Pendua to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1564. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian ostracon dedicated by Amenkhau to Mereteseger, limestone, New Kingdom, 20th Dynasty, (1187-1150 BC), Deir el-Medina, ODrovetti cat 1564. Egyptian Museum, Turin. black background
  • Ancient Egyptian ostracon dedicated by Amenkhau to Mereteseger, limestone, New Kingdom, 20th Dynasty, (1187-1150 BC), Deir el-Medina, ODrovetti cat 1564. Egyptian Museum, Turin.
  • Ancient Egyptian ostracon dedicated by Amenkhau to Mereteseger, limestone, New Kingdom, 20th Dynasty, (1187-1150 BC), Deir el-Medina, ODrovetti cat 1564. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of a bowman and his wife, limestone, First Intermediate Period, 7-11th Dynasty, (2118-1980 BC), Deir el-Medina, Schiaparelli cat 1273. Egyptian Museum, Turin. white background
  • Ancient Egyptian stele of a bowman and his wife, limestone, First Intermediate Period, 7-11th Dynasty, (2118-1980 BC), Deir el-Medina, Schiaparelli cat 1273. Egyptian Museum, Turin. Grey Background
  • Ancient Egyptian stele of a bowman and his wife, limestone, First Intermediate Period, 7-11th Dynasty, (2118-1980 BC), Deir el-Medina, Schiaparelli cat 1273. Egyptian Museum, Turin. Grey Background
  • Ancient Egyptian stele of the official Saherhotep & his wife Ipet, limestone, Middle Kingdom, 19th Dynasty, (1759-1700 BC), Old Fund cat 1630. Egyptian Museum, Turin. Grey backgtound.<br />
<br />
8 mummiform figure in high relief run along the bottom of the stele.
  • Egyptian stele of Theanou, limestone, Roman Period, 1st cent AD, Com Abu Billo, cat 18117. Egyptian Museum, Turin. Grey Background
  • Egyptian stele of Theanou, limestone, Roman Period, 1st cent AD, Com Abu Billo, cat 18117. Egyptian Museum, Turin. black background
  • Egyptian stele of Theanou, limestone, Roman Period, 1st cent AD, Com Abu Billo, cat 18117. Egyptian Museum, Turin. Grey Background
  • Ancient Egyptian stele of sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. black background<br />
<br />
This stele belongs to the "painter of outlines' and sculptor Qen who lived in the reign of Ramesses II. It depicrs a funeral celebration for him infront of funerary chapel with his sond Meryre and Huy, who are performing the "ceremony of Opening of the Mouth". His daughter Taqri is depicted grieving over the loss of her father. The chapel is summounted by a Pyramidion.

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