• Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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 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 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. 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. 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 False Door stele of Chamberlain Hornakht, son of Mera, slimestone, Middle Kingdom, 12th Dynasty (1939-1759 BC),  Egyptian Museum, Turin. Old fund cat 1612. <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 Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. black 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 stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. Grey background.<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 statue of Qen, priest of Anukis, sanstone, New Kingdom, 19th Dynasty, (1292-1191 BC), Isalnd of sehel. Egyptian Museum, Turin. Grey background.<br />
<br />
Qen was a "gods father of Amon of Elephantine and of Khnum, Satis and Anukis". Elephantine is a Greek name of the present day Aswan. The naos, shrine, contains a female wearing a high plumed headdress. She is Anukis goddess of the Nile flood. With the ram-heahed god Khum and the goddess Satis, she formed the triad of the Elephantine. The statue probably comes from the temple of the Triad on Sehel Island just south of Elephantine.. Drovetti collection. Cat 3016.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. <br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian sculpture of the head of a criosphinx, sandstone, New Kigdom, 18th Dynasty, (1390-1353 BC), Karnak, Temple of Khonsu. Egyptian Museum, Turin. Grey background,<br />
<br />
From the New kingdom onwards a particular image of the god Amon was adopted, the criosphinx, which was a sphinx whose human head was replaced by the head of a ram, the animal form of Amon. A large number of criosphinx are still standing in Karnak today. Drovetti collection. C 846.
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey 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. 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 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 />
The upper two registers show a procession of men and women converging on a unidentifiable element, no destroyed.<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 statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. <br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian sculpture of the head of a criosphinx, sandstone, New Kigdom, 18th Dynasty, (1390-1353 BC), Karnak, Temple of Khonsu. Egyptian Museum, Turin. Grey background,<br />
<br />
From the New kingdom onwards a particular image of the god Amon was adopted, the criosphinx, which was a sphinx whose human head was replaced by the head of a ram, the animal form of Amon. A large number of criosphinx are still standing in Karnak today. Drovetti collection. C 846.
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. black 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. Grey 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 Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. black 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 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 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 Chamberlain Hornakht, son of Mera, slimestone, Middle Kingdom, 12th Dynasty (1939-1759 BC),  Egyptian Museum, Turin. Old fund cat 1612. white 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 False Door stele of Chamberlain Hornakht, son of Mera, slimestone, Middle Kingdom, 12th Dynasty (1939-1759 BC),  Egyptian Museum, Turin. Old fund cat 1612. <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 wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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 wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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 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 statue of Wahka son of Neferhoptep, Middle Kingdom, 13th Dynasty, (1760 BC), Qaw el-Kebir, Tomb 7. Egyptian Museum, Turin. black background. <br />
<br />
This exceptional example of a private sculpture depicts a provincial official in almost Royal size and attitude. It was found inside the largest funerary chapel in Qaw el-Kebir, built of governor Wahka II around 1850 BC, The style indicates a date about a century later at a time when local governors did not build large tombs anymore. The statue was therefore installed by another Wahka into his ancestors chapel to keep the memory of his glorious lineage alive. Schiapelli excavations Cat 4265.
  • Ancient Egyptian statue of Wahka son of Neferhoptep, Middle Kingdom, 13th Dynasty, (1760 BC), Qaw el-Kebir, Tomb 7. Egyptian Museum, Turin. white background,<br />
<br />
This exceptional example of a private sculpture depicts a provincial official in almost Royal size and attitude. It was found inside the largest funerary chapel in Qaw el-Kebir, built of governor Wahka II around 1850 BC, The style indicates a date about a century later at a time when local governors did not build large tombs anymore. The statue was therefore installed by another Wahka into his ancestors chapel to keep the memory of his glorious lineage alive. Schiapelli excavations Cat 4265.
  • 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. <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 statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. black background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. black background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian sculpture of the head of a criosphinx, sandstone, New Kigdom, 18th Dynasty, (1390-1353 BC), Karnak, Temple of Khonsu. Egyptian Museum, Turin. black background,<br />
<br />
From the New kingdom onwards a particular image of the god Amon was adopted, the criosphinx, which was a sphinx whose human head was replaced by the head of a ram, the animal form of Amon. A large number of criosphinx are still standing in Karnak today. Drovetti collection. C 846.
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. <br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • 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 Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black 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 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 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 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. 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. 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 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 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 stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. black background.<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 to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. Grey background.<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 statue of Wahka son of Neferhoptep, Middle Kingdom, 13th Dynasty, (1760 BC), Qaw el-Kebir, Tomb 7. Egyptian Museum, Turin. Grey background. <br />
<br />
This exceptional example of a private sculpture depicts a provincial official in almost Royal size and attitude. It was found inside the largest funerary chapel in Qaw el-Kebir, built of governor Wahka II around 1850 BC, The style indicates a date about a century later at a time when local governors did not build large tombs anymore. The statue was therefore installed by another Wahka into his ancestors chapel to keep the memory of his glorious lineage alive. Schiapelli excavations Cat 4265.
  • 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. white 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 Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. Grey Background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. black background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue of Qen, priest of Anukis, sanstone, New Kingdom, 19th Dynasty, (1292-1191 BC), Isalnd of sehel. Egyptian Museum, Turin. white background.<br />
<br />
Qen was a "gods father of Amon of Elephantine and of Khnum, Satis and Anukis". Elephantine is a Greek name of the present day Aswan. The naos, shrine, contains a female wearing a high plumed headdress. She is Anukis goddess of the Nile flood. With the ram-heahed god Khum and the goddess Satis, she formed the triad of the Elephantine. The statue probably comes from the temple of the Triad on Sehel Island just south of Elephantine.. Drovetti collection. Cat 3016.
  • Ancient Egyptian statue of Qen, priest of Anukis, sanstone, New Kingdom, 19th Dynasty, (1292-1191 BC), Isalnd of sehel. Egyptian Museum, Turin. black background,<br />
<br />
Qen was a "gods father of Amon of Elephantine and of Khnum, Satis and Anukis". Elephantine is a Greek name of the present day Aswan. The naos, shrine, contains a female wearing a high plumed headdress. She is Anukis goddess of the Nile flood. With the ram-heahed god Khum and the goddess Satis, she formed the triad of the Elephantine. The statue probably comes from the temple of the Triad on Sehel Island just south of Elephantine.. Drovetti collection. Cat 3016.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. black background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. white background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. black background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of Aanen, second priest to Amon, granodioite, New Kingdom, 18th Dynasty, (1390-1353, Thebes. Egyptian Museum, Turin. <br />
<br />
A dignitary wearing a wig, a long gown and the leopard skin of a priest. Writing on his belt are the names of Amenhotep III, Aanen and an inscription tells us that the statue depicts the astronomer priest Aanen  by saying " one knows the procession of the sky". Aanen was the brother of the queen Teye wife of Amenhotep III. Drovetti collection, cat 1377
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Black background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. white background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey 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. Grey 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 Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. white 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 mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. white background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • 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. <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. 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 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. Grey 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. Grey 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 statue of Wahka son of Neferhoptep, Middle Kingdom, 13th Dynasty, (1760 BC), Qaw el-Kebir, Tomb 7. Egyptian Museum, Turin. Grey background. <br />
<br />
This exceptional example of a private sculpture depicts a provincial official in almost Royal size and attitude. It was found inside the largest funerary chapel in Qaw el-Kebir, built of governor Wahka II around 1850 BC, The style indicates a date about a century later at a time when local governors did not build large tombs anymore. The statue was therefore installed by another Wahka into his ancestors chapel to keep the memory of his glorious lineage alive. Schiapelli excavations Cat 4265.
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. black background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. Grey background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. Grey background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. Grey Background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. white background<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. white background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin.<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. white background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian sculpture of the head of a criosphinx, sandstone, New Kigdom, 18th Dynasty, (1390-1353 BC), Karnak, Temple of Khonsu. Egyptian Museum, Turin. <br />
<br />
From the New kingdom onwards a particular image of the god Amon was adopted, the criosphinx, which was a sphinx whose human head was replaced by the head of a ram, the animal form of Amon. A large number of criosphinx are still standing in Karnak today. Drovetti collection. C 846.
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black 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 Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. white 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 greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • 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 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 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 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 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. 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 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. black 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 Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. <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 wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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 statue of Wahka son of Neferhoptep, Middle Kingdom, 13th Dynasty, (1760 BC), Qaw el-Kebir, Tomb 7. Egyptian Museum, Turin.<br />
<br />
This exceptional example of a private sculpture depicts a provincial official in almost Royal size and attitude. It was found inside the largest funerary chapel in Qaw el-Kebir, built of governor Wahka II around 1850 BC, The style indicates a date about a century later at a time when local governors did not build large tombs anymore. The statue was therefore installed by another Wahka into his ancestors chapel to keep the memory of his glorious lineage alive. Schiapelli excavations Cat 4265.
  • 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. black 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 statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. <br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. white background<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. <br />
<br />
Drovetti Collection, Cat 1386
  • 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 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 king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey 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 pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. Grey background<br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • 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 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. <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 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 False Door stele of Chamberlain Hornakht, son of Mera, slimestone, Middle Kingdom, 12th Dynasty (1939-1759 BC),  Egyptian Museum, Turin. Old fund cat 1612. Black 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 Talatat block with a female worhiper of tambourine player relief, sandstone, New Kingdom, 18th Dynasty (1353-1336 BC), Thebes, Karnac. Egyptian Museum, Turin. White background.<br />
<br />
The talatat was introduced to increase the speed new monuments to Aten could be built. The talatat were smaller, about 52x26x24 cm, than the usual building blocks used and therfore were easier to handle and build with. They were first used on the new buildings of Akhenaten at Thebes during his reign, the, after his capital was moved , for the monumenta of Amarna. When Amon was restored all the Aten temples were taken down and their blocks used in other buildings. Over 100,000 talatat have been excavated so far in Thebes and they represent a massive jigsaw puzzle as archaeologist try to piece them together into their original reliefs.
  • 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 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 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 Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. white background.<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 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 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 statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. white background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian shabtis doll, lwood, New Kingdom, 18th Dynasty, (1538-1040 BC), Deir el Medina. Egyptian Museum, Turin. white background. <br />
<br />
shabti figures began to occur in Middle Kingdom tombs with a twofold nature: on <br />
the one hand, they were meant to be images of their owners, representatives of the deceased in the realm of the Lord of Eternity. <br />
On the other hand, they were also considered to be servants of the deceased, taking the role of the servant statues. The complex <br />
nature of the shabti figure as a substitute of both the owner and his or her servants remains unaltered during the New Kingdom
  • Ancient Egyptian architectonic element of the temple of Aten, Karnak, limestone, New Kingdom 18th Dynasty (1353-1336 BC). Egyptian Museum, Turin. black background<br />
<br />
This crystaline block from the riugn of Amenhoptep IV was part of the railing of the temple of Aten in Karnak. It is os a double form cartouche, which usually enclose the name of the king. Here insted, it contains the names of the sun disk Aten, the one god of King Akhenaten : "Ra-Harakhty rising in the Horizon" "in the name as the light which is in Aten". The name of the king is carved on the sides. The objects is therefore a links god with the pharoah. Drovetti collection Cat 1378
  • Ancient Egyptian architectonic element of the temple of Aten, Karnak, limestone, New Kingdom 18th Dynasty (1353-1336 BC). Egyptian Museum, Turin. Grey backcground.<br />
<br />
This crystaline block from the riugn of Amenhoptep IV was part of the railing of the temple of Aten in Karnak. It is os a double form cartouche, which usually enclose the name of the king. Here insted, it contains the names of the sun disk Aten, the one god of King Akhenaten : "Ra-Harakhty rising in the Horizon" "in the name as the light which is in Aten". The name of the king is carved on the sides. The objects is therefore a links god with the pharoah. Drovetti collection Cat 1378
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey Background<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. white background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue of Qen, priest of Anukis, sanstone, New Kingdom, 19th Dynasty, (1292-1191 BC), Isalnd of sehel. Egyptian Museum, Turin. Grey background.<br />
<br />
Qen was a "gods father of Amon of Elephantine and of Khnum, Satis and Anukis". Elephantine is a Greek name of the present day Aswan. The naos, shrine, contains a female wearing a high plumed headdress. She is Anukis goddess of the Nile flood. With the ram-heahed god Khum and the goddess Satis, she formed the triad of the Elephantine. The statue probably comes from the temple of the Triad on Sehel Island just south of Elephantine.. Drovetti collection. Cat 3016.
  • Ancient Egyptian statue of Qen, priest of Anukis, sanstone, New Kingdom, 19th Dynasty, (1292-1191 BC), Isalnd of sehel. Egyptian Museum, Turin. <br />
<br />
Qen was a "gods father of Amon of Elephantine and of Khnum, Satis and Anukis". Elephantine is a Greek name of the present day Aswan. The naos, shrine, contains a female wearing a high plumed headdress. She is Anukis goddess of the Nile flood. With the ram-heahed god Khum and the goddess Satis, she formed the triad of the Elephantine. The statue probably comes from the temple of the Triad on Sehel Island just south of Elephantine.. Drovetti collection. Cat 3016.
  • Ancient Egyptian statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. black background.<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. <br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian sculpture of the head of a criosphinx, sandstone, New Kigdom, 18th Dynasty, (1390-1353 BC), Karnak, Temple of Khonsu. Egyptian Museum, Turin. white background,<br />
<br />
From the New kingdom onwards a particular image of the god Amon was adopted, the criosphinx, which was a sphinx whose human head was replaced by the head of a ram, the animal form of Amon. A large number of criosphinx are still standing in Karnak today. Drovetti collection. C 846.
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. .<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. white background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • 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 Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black 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 mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Rare ancient Egyptian mummy bundle, necropolis of Gebelein, Old Kingdom, 4th - 5th Dynasty (2543-2305 BC). Egyptian Museum, Turin.  Grey background.<br />
<br />
Excavated duting the Tirun museum archaeological mission of 1911, this mummy bundle was found in a rectangular chest. It has never been opened and non destructive tests show thatthe body is in a contarcted position with its head on a double coloumned headrest.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. white background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • 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 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 Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. white 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 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 of sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. Grey 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.
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin.. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. Grey background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian architectonic element of the temple of Aten, Karnak, limestone, New Kingdom 18th Dynasty (1353-1336 BC). Egyptian Museum, Turin. Grey backcground.<br />
<br />
This crystaline block from the riugn of Amenhoptep IV was part of the railing of the temple of Aten in Karnak. It is os a double form cartouche, which usually enclose the name of the king. Here insted, it contains the names of the sun disk Aten, the one god of King Akhenaten : "Ra-Harakhty rising in the Horizon" "in the name as the light which is in Aten". The name of the king is carved on the sides. The objects is therefore a links god with the pharoah. Drovetti collection Cat 1378
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. white background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. black background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. <br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey Background<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • 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 statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of a Ptolomaic king in pharaonic regalia, granodiorire, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. <br />
<br />
The Ptolomaic king is dressed a a pharaoh wearing a nemes headdress and a false beard . Drovetti Collection, Cat 1384
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. white background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. black background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • 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 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
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. black 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 princess Redji, grandorite, Saqqara, Old Kingdom, 3rd Dynasty (2592-2543 BC). Egyptian Museum, Turin. grey background.<br />
<br />
The inscriptions at the base of the statue indicates that the statue is of the Kings Daughter named Redji. Never intended as a faithful depiction of the deceased , the statue was placed in the tomb to substitute for the deceased. The statue is in the typical rigid style of the old kingdom with a voluminous wig.
  • Ancient Egyptian statue of princess Redji, grandorite, Saqqara, Old Kingdom, 3rd Dynasty (2592-2543 BC). Egyptian Museum, Turin. grey background.<br />
<br />
The inscriptions at the base of the statue indicates that the statue is of the Kings Daughter named Redji. Never intended as a faithful depiction of the deceased , the statue was placed in the tomb to substitute for the deceased. The statue is in the typical rigid style of the old kingdom with a voluminous wig.
  • Rare ancient Egyptian mummy bundle, necropolis of Gebelein, Old Kingdom, 4th - 5th Dynasty (2543-2305 BC). Egyptian Museum, Turin.   black background.<br />
<br />
Excavated duting the Tirun museum archaeological mission of 1911, this mummy bundle was found in a rectangular chest. It has never been opened and non destructive tests show thatthe body is in a contarcted position with its head on a double coloumned headrest.
  • Rare ancient Egyptian mummy bundle, necropolis of Gebelein, Old Kingdom, 4th - 5th Dynasty (2543-2305 BC). Egyptian Museum, Turin.  white background.<br />
<br />
Excavated duting the Tirun museum archaeological mission of 1911, this mummy bundle was found in a rectangular chest. It has never been opened and non destructive tests show thatthe body is in a contarcted position with its head on a double coloumned headrest.
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. black background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • 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. 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 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black 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 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 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 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. Grey 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 Talatat block with a female worhiper of tambourine player relief, sandstone, New Kingdom, 18th Dynasty (1353-1336 BC), Thebes, Karnac. Egyptian Museum, Turin. <br />
<br />
The talatat was introduced to increase the speed new monuments to Aten could be built. The talatat were smaller, about 52x26x24 cm, than the usual building blocks used and therfore were easier to handle and build with. They were first used on the new buildings of Akhenaten at Thebes during his reign, the, after his capital was moved , for the monumenta of Amarna. When Amon was restored all the Aten temples were taken down and their blocks used in other buildings. Over 100,000 talatat have been excavated so far in Thebes and they represent a massive jigsaw puzzle as archaeologist try to piece them together into their original reliefs.
  • 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 sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. white 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.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 1434.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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 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 a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. 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 shabtis doll, lwood, New Kingdom, 18th Dynasty, (1538-1040 BC), Deir el Medina. Egyptian Museum, Turin. Grey background. <br />
<br />
shabti figures began to occur in Middle Kingdom tombs with a twofold nature: on <br />
the one hand, they were meant to be images of their owners, representatives of the deceased in the realm of the Lord of Eternity. <br />
On the other hand, they were also considered to be servants of the deceased, taking the role of the servant statues. The complex <br />
nature of the shabti figure as a substitute of both the owner and his or her servants remains unaltered during the New Kingdom
  • Ancient Egyptian architectonic element of the temple of Aten, Karnak, limestone, New Kingdom 18th Dynasty (1353-1336 BC). Egyptian Museum, Turin. <br />
This crystaline block from the riugn of Amenhoptep IV was part of the railing of the temple of Aten in Karnak. It is os a double form cartouche, which usually enclose the name of the king. Here insted, it contains the names of the sun disk Aten, the one god of King Akhenaten : "Ra-Harakhty rising in the Horizon" "in the name as the light which is in Aten". The name of the king is carved on the sides. The objects is therefore a links god with the pharoah. Drovetti collection Cat 1378
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin.  black background,<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. <br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Drovetti collection. Cat 3139
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
Drovetti Collection, Cat 1386
  • 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
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Ancient Egyptian statue of princess Redji, grandorite, Saqqara, Old Kingdom, 3rd Dynasty (2592-2543 BC). Egyptian Museum, Turin. white background.<br />
<br />
The inscriptions at the base of the statue indicates that the statue is of the Kings Daughter named Redji. Never intended as a faithful depiction of the deceased , the statue was placed in the tomb to substitute for the deceased. The statue is in the typical rigid style of the old kingdom with a voluminous wig.
  • Ancient Egyptian statue of princess Redji, grandorite, Saqqara, Old Kingdom, 3rd Dynasty (2592-2543 BC). Egyptian Museum, Turin. grey background.<br />
<br />
The inscriptions at the base of the statue indicates that the statue is of the Kings Daughter named Redji. Never intended as a faithful depiction of the deceased , the statue was placed in the tomb to substitute for the deceased. The statue is in the typical rigid style of the old kingdom with a voluminous wig.
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. <br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus of Royal scribe Butehamon, Thebes, 21st Dynasty, reign of Ramese XI, (1078 or 1077 BC ). Egyptian Museum, Turin. <br />
<br />
Butehamon was a key figure between the end of the New Kingdom (Twentieth Dynasty, reign of Ramesse XI) and the beginning of the Third Intermediate Period (Twenty-First Dynasty, reign of Smendes). Born into an illustious family he became a man of letters
  • Ancient Egyptian sarcophagus of Royal scribe Butehamon, Thebes, 21st Dynasty, reign of Ramese XI, (1078 or 1077 BC ). Egyptian Museum, Turin.  black background<br />
<br />
Butehamon was a key figure between the end of the New Kingdom (Twentieth Dynasty, reign of Ramesse XI) and the beginning of the Third Intermediate Period (Twenty-First Dynasty, reign of Smendes). Born into an illustious family he became a man of letters
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. white background<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • 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.  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 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum<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 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. Black 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 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. Grey 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 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. white 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 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. 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.

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