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Home , Ernesto Schiaparelli, Exhibition designer, Great Royal Wife, Nefertari, Nefertari (18th dynasty), Tiye

GUIDEBOOK

EXHIBITION OPEN MAR 1–SEPT 2

exhibition opens nov 15, 2017 17TH & M STREETS NW | WASHINGTON, DC | 17TH & M STREETS NW | natgeomuseum.org | NATGEOMUSEUM.ORG NATIONAL GEOGRAPHIC STAFF contents Tracy R. Wolstencroft, President and CEO Mike Ulica, Chief Operations and Financial Officer Kathryn Keane, Director of the Museum Fredrik Hiebert, and Archaeologist-in-Residence 5 6 Alan Parente, Creative Director, WELCOME FROM THE MEET THE Greg McGruder, Vice President of Live Events and Experiences MUSEUM QUEENS Tibor Acs, Multimedia and AV Manager DIRECTOR Erin Branigan, Exhibition Content Specialist Austin Braswell, Senior Graphic Designer Kallie Brennan, Visitor Experience Supervisor Ivan (Spanky) Campbell, Technical Coordinator 8 10 Catherine Clark, Exhibitions Coordinator ’S LIFE IN THE Seth de Matties, Traveling Exhibitions Manager HAREM Brianna DeOrsey, Group Sales Specialist TOMB Cynthia Doumbia, International Traveling Exhibitions Director Cole Fiala, Manager, International Traveling Exhibitions Kyle Garber, Visitorphoto Experience Manager 14 Charlette Hove, Exhibitions Designer 12 Lauren Ippolito, Exhibitions Manager THE LISTICLE OF MAJOR DEIR EL-MEDINA Lindsay Marcus, Museum and Ticketing Operations Manager GODDESSES THE CRAFTSMEN’S Edward Mooney, Exhibition Development Manager VILLAGE Ivo Morales, Museum Operations Manager Joel Persels, Technical Coordinator Allison Shelly, Visitor Experience Supervisor Brit Shoaf, Lead Exhibition Designer 18 Jeff Thomas, Print Production Technician 16 Q & A WITH Ellen Tozer, Store Manager DEATH & Jennifer Wallace, Museum Partnerships Director KARA COONEY EGYPTOLOGIST AND Special thanks to the Marketing and Engagement team, Wesley Della Volla, Gillian NATIONAL GEOGRAPHIC EXPLORER Willman, Sonya Edelman, Vanessa Serrao, Daniella Thompson, and our Visitor Experience team.

“Queens of ” is an exhibition produced by Pointe-à-Callière, Montréal and History Complex and , Turin, in partnership with the 20 National Geographic Society. We are grateful for the support of the Italian Embassy 22 and Embassy in Washington, D.C. IN THE FIELD WITH ABOUT THE NATIONAL MUSEUM OUR PARTNERS GEOGRAPHIC

Cover photo: Mark Thiessen MEDIA PARTNER HOSPITALITY PARTNER

Nefertari makes offerings to gods Osiris and Atum, Tomb of Nefertari, , Thebes Photo: DeA Picture /Art Resource

2 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 3 Photo: Shutterstock Photo: Caroline Thibault

| TRAVEL BEYOND THE EXHIBIT | Photo: Rebecca Hale WELCOME FROM THE DIRECTOR OF THE MUSEUM

For centuries, the world has been fascinated with the of Egypt. The discovery of the intact tomb of , nearly a century ago, ignited an obsession with that continues to grow as increasingly sophisticated technologies allow us to explore even more about this incredible culture.

The National Geographic Society has a long history of supporting the groundbreaking research of archaeologists, technologists, and conservationists working in the country. But despite decades of extraordinary findings in Egypt, not a single intact tomb of a royal woman has ever been located. There were many queens of Egypt—some of them with very familiar names like and —and yet little was widely known about them—until now.

This immersive exhibition highlights the women of Egypt with a focus on the New Kingdom through the last queen, and , Cleopatra VII. You will travel through over 1,400 years of history brought to life and learn from National Geographic Explorers about the discoveries that are changing what we know about this important ancient civilization.

The exhibition features more than 300 artifacts from impressive collections like that of the renowned Museo Egizio in Turin, Italy. It also includes maps, images, multimedia, and an immersive 3-D theater that will transport you on a virtual journey through Queen Nefertari’s tomb. Though looted in antiquity, it is still one of the most elaborate tombs ever discovered in Egypt.

Special thanks to the fine that are sharing their collections in this exhibition. These include the Museo Egizio in Turin, the Pointe-à-Callière Museum in Montreal, the Rijksmuseum van Oudheden in Leiden, Musées Royaux d’Art et WE CAN’T BRING THE SPHINX TO YOU, BUT WE CAN BRING YOU TO THE SPHINX. d’Histoire in Brussels, and the Montreal Museum of Fine Arts. Additional thanks Navigate the timeless on an all-inclusive National Geographic river cruise, and to the Italian Embassy and the Egyptian Embassy in Washington and to Kimpton explore some of the greatest wonders of the ancient world alongside our experts. Hotels for their support. Gaze up at the Pyramids of , puzzle out hieroglyphics in the , meet National Geographic archaeologists working in the field, and more. We hope this exhibition inspires you to study and learn more about the past, which has so much to teach us about our shared human journey.

Enjoy!

Kathryn Keane DIRECTOR OF THE MUSEUM NATIONAL GEOGRAPHIC SOCIETY For more information or to request a FREE catalog NATGEOEXPEDITIONS.COM | 1-888-966-8687

© 2019 National Geographic Partners, LLC. National Geographic EXPEDITIONS and the Yellow Border Design are trademarks of the National Geographic Society, used under license. QUEENS OF EGYPT 5 THE BEAUTIFUL ONE (1353–1332 B.C.) Nefertiti was married to Amenhotep IV, who later changed his name to . He was the 10th pharaoh of the 18th dynasty. MEET THE During his reign, Akhenaten radically altered Egypt’s polytheistic religion and established a new capital city called . Nefertiti played an important role in both the religious and political spheres QUEENS OF EGYPT and was regarded as the equal feminine counterpart of the king.

AHMOSENEFERTARI NEFERTITITHE BELOVED ONEISETNOFRET (1279-1255 B.C.) NEFETARI CLEOPATRA VII THE DIVINE ONE (1539–1514 B.C.) Nefertari was the first and most beloved queen of Ramses II, -Nefertari was the first queen of the 18th dynasty and of the third pharaoh of the 19th dynasty. When she passed away the New Kingdom. She was a powerful and influential queen who after 20 years of marriage, Ramses wrote “Just by passing, she enjoyed widespread acclaim. After her death, she and her son has stolen away my heart.” He built her a temple at , were deified in Deir el-Medina, where she was worshipped as a where several colossal standing statues of the queen decorate goddess of resurrection. its façade. Her tomb is one of the largest and most lavishly painted in the Valley of the Queens.

THE PHARAOH (1479–1425 B.C.)AHMOSENEFERTARI HATSHEPSUT NEFERTITI ISETNOFRET TIYE NEFETARI CLEOPATRA VII (51-30 B.C.) AHMOSENEFERTARIHatshepsut reignedHATSHEPSUT as the fifth pharaoh of the 18th NEFERTITIdynasty. THEISETNOFRET LAST QUEEN TIYE NEFETARI CLEOPATRA VII Cleopatra VII was the last queen of ancient Egypt. In 47 B.C., she became Roman After her husband, II, died, she became queen General Julius Caesar’s political ally and lover. When he was assassinated three years regent for her infant stepson. Within five years, Hatshepsut later, Cleopatra sought to strengthen Egypt’s position by allying herself was crowned pharaoh. To reinforce her power, she was with Roman General Mark Antony, who became her new lover. Roman often portrayed with masculine clothing and characteristics, ruler Octavian viewed the alliance as a growing threat. In 30 B.C., including a false beard. She ruled Egypt for 22 years and is he cornered Mark Antony and Cleopatra in the city of , considered one of Egypt’s most successful pharaohs. where the pair committed suicide. Egypt lost its independence and became part of the Roman Empire. AHMOSENEFERTARI HATSHEPSUT NEFERTITI ISETNOFRET TIYE NEFETARI CLEOPATRA VII

THE DIPLOMAT (1390–1340 B.C.) Illustrations: Austin Braswell Tiye was married to Amenhotep III, the ninth pharaoh of the

18th dynasty. She played a powerful role in diplomatic relations CLEOPATRA is the most iconic Egyptian queen represented in pop and gained a reputation as the true power behind the throne. culture. The list of leading ladies who have portrayed Cleopatra on film is AHMOSENEFERTARI HATSHEPSUT NEFERTITI ISETNOFRET TIYE NEFETARI CLEOPATRA VII Depictions of Tiye show that she was not a conventional beauty, a veritable who’s who of Hollywood stars but the actress that stands apart but she had a powerful physical presence. Her mummified from the crowd is Elizabeth Taylor, who played the role of Cleopatra in 1963. The film in which she starred, titled Cleopatra, is spectacular, with remains were found in the Valley of the Kings. huge sets, lavish costumes, and thousands of extras. It nearly bankrupted the studio, costing a whopping $44 million to make—more than $350 million today—making it one of the most expensive films of all time. AHMOSENEFERTARI HATSHEPSUT NEFERTITI ISETNOFRET TIYE NEFETARI CLEOPATRA VII

6 BUY TICKETS TODAY NATGEOMUSEUM.ORG Photo: Getty/Bettmann NEFERTARI’S TOMB

NEFERTARI’S NAME MEANS “BEAUTIFUL COMPANION,” and her husband, Pharaoh Ramses II, was clearly entranced by her beauty, calling her “she for whom the sun shines.” When she died around 1255 B.C., the pharaoh honored her by dedicating a temple to her at Abu Simbel, a massive temple complex along ancient Egypt’s southern border. He also had one of the largest and most elaborate royal tombs in the Valley of the Queens built and decorated for his beloved wife.

AHMOSENEFERTARI HATSHEPSUT NEFERTITI ISETNOFRET TIYENefertari’s tomb, found by ItalianNEFETARI CLEOPATRA VII archaeologist in 1904, Nefertari makes offerings to gods Osiris and Atum, Tomb of Nefertari, Valley of the Queens, Thebes is considered one of the most beautifully Photo: DeA Picture Library/Art Resource decorated burial places ever found in Egypt. The burial site is a rock-cut tomb at the foot However, the real treasures of Nefertari’s tomb are the breathtaking wall paintings, of the Theban Mountain, and the tomb which have earned the tomb the nickname “the Sistine Chapel of ancient Egypt.” itself consists of several rooms on two levels, Elaborate, vibrant scenes painted on nearly every surface of the tomb show joined by an internal staircase. Even though Nefertari’s preparations for the afterlife, in accordance with the of the Dead. the tomb was plundered in antiquity, The hieroglyphic inscriptions on the walls were meant to guide and protect Schiaparelli found a handful of artifacts still Nefertari on her journey to the afterlife, where she would attain eternal life in the inside, including 34 wooden shabtis, a pair of halls of Osiris, god of the underworld. These paintings, some of the most complete sandals, and a pink granite sarcophagus lid. ever discovered, are incredibly delicate. Ongoing conservation work is aimed at

Goods found in the tomb of Nefertari, Valley of the Queens, Thebes ensuring these treasures of Egyptian art are preserved for future generations. Photo: © Museo Egizio, Turin

8 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 9 The harems functioned under a strict hierarchy. One of the pharaoh’s consorts was distinguished as his , and she had authority over its administration. The pharaoh’s secondary wives ranked below the great royal wife, and beneath LIFE IN THE them were various attendants and ladies in waiting. Residency in the harem was not restricted to women, however. A male overseer and various male officials HAREM tended to the harem’s operation. The royal children, both male and female, were also raised and educated in the harem.

The harems also formed an important part of the economic life of the royal SINCE PREDYNASTIC TIMES, THE PHARAOHS OF ANCIENT court. They included an estate intended for agricultural produce and for pasture, EGYPT TOOK MULTIPLE WIVES. Although the practice was not and there were even workshops for the manufacture of textiles and other craft widespread outside the palace, pharaohs followed this tradition to ensure their products. Some women were tasked with entertaining the pharaoh and were line of succession. The pharaoh’s many wives lived together in a place called the trained in dance, music, and song. Depictions of banquets show women playing royal harem. Egyptian harems remain somewhat mysterious because very few musical instruments, such as the harp, lute, and double oboe, for entertainment. archaeological remains or textual descriptions of these places survive. However, They are often depicted dancing together as well. we know that they were dwelling places for women of all ranks who were

connected to the pharaoh. Harems weren’t without controversy. In 1155 B.C., a conspiracy was hatched by the harem in Thebes, led by Queen Tiy, a secondary wife of Ramses III. She conspired with at least 38 other people, including other wives and harem officials, to kill the pharaoh and install her own son, Pentawer, on the throne in place of the crown prince, Ramses IV. They succeeded in killing the pharaoh, but Ramses IV succeeded his father, thwarting the conspiracy’s ultimate goal.

The conspirators were caught and tried in court. Their names and punishments were recorded on a papyrus scroll known as the Judicial Papyrus of Turin. Many of the conspirators were put to death. Pentawer was forced to commit suicide and some of the trial’s judges, who partied with a number of the accused women during the trial, had their noses and ears cut off. Tiy’s fate remains unknown. The Judicial Papyrus of Turin is on display in the exhibition after Nefertari’s grave goods. Tomb of Nefertari, Annex to Antechamber Photo: De Agostini Picture Library/S. Vannini/Bridgeman

A wood and gold bust of Queen Tiye, King ’s grandmother Photo: Kenneth Garrett

10 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 11 SEKHMET GODDESS OF BATTLE THE LISTICLE OF MAJOR Sekhmet, “the powerful one,” was a fearsome goddess who represented the power of the sun’s rays, which give life but can also burn and kill. Her breath is said to have GODDESSES created the desert. Sekhmet was the goddess of battle and the fiercest hunter in all of Egypt. She appeared as a lion-headed woman, the Lower Egyptian equivalent of . Sekhmet was the fierce, wild form of Bastet.

BASTET GODDESS OF DOMESTIC JOY GODDESS OF MAGIC Bastet was associated with the moon and protected pregnancies and ISIS Isis was the most popular Egyptian deity. She served as a protector of births. She appeared as a cat or a woman with a cat’s head. Protector the dead and divine mother of kings. After her brother and husband, of women and children, she was reputed to possess the magical power Osiris, was murdered and cut into pieces, she collected the pieces and to stimulate love, which ensured her popularity. Bastet was the calm, reassembled his body, binding it with strips of linen to preserve gentle form of Sekhmet. the corpse—Egypt’s first . According to legend, she later resurrected him and conceived their son, . GODDESS OF MOTHERHOOD Hathor was an important celestial deity and the great mother goddess. She GODDESS OF PREGNANCY was one of the most popular goddesses for centuries, during which time she Taweret was a protector of pregnancy, childbirth, and motherhood. was also worshipped as the goddess of love, joy, and music. Hathor ruled Her name means “the great one,” and she was portrayed as a bipedal the women’s sphere as the patron goddess of childbirth. She was portrayed

Photo: © Museo Egizio, Turin Egizio, © Museo Photo: female hippopotamus with a pregnant belly, a crocodile tail, and the variously as a cow, or as a woman with distinctive cow ears and a sun disc feet of a lion. Her fearsome appearance was intended to intimidate headdress resting between cow horns.

Votive cat figurine representing Bastet Bastet figurine representing cat Votive evil forces, and all the animals associated with her were known for aggressively protecting their young. MUT QUEEN OF THE GODS Mut was the consort of , the king of the gods during the New GODDESS OF TRUTH Kingdom. She was the patron deity of pharaohs as well as a goddess MAAT For the Egyptians, the world was always under threat from of war. Together, Mut and Amun were the patron gods of Thebes. chaos. To preserve the delicate cosmic balance known as Mut was often depicted with the head of a lioness—the Upper ma’at, order had to be maintained. The goddess Maat was the Egyptian counterpart of Sekhmet. Mut’s name means “mother,” personification of this concept. She was the incarnation of truth, and the ancient Greeks saw her as a personification of Hera, balance, justice, and order, and presided over the judgement of Zeus’s wife. the dead in the underworld.

The goddess Mut, limestone. Unknown , New Kingdom, 18th–20th dynasties Statue of the goddess Sekhmet, granodiorite (1539–1076 B.C.) Photo: © Museo Egizio, Turin Thebes, New Kingdom, 18th dynasty, reign of Amenhotep III (1390–1353 B.C.) Photo: © Museo Egizio, Turin

12 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 13 Deir el-Medina was a purpose-built village constructed to house those working DEIR EL-MEDINA on nearby royal projects, such as the tombs in the Valley of the Kings, the Valley of the Queens, and the Ramesseum. The village was occupied by an incredible THE CRAFTSMEN’S congregation of architects, painters, draughtsmen, sculptors, and craftsmen of all kinds, as well as their wives, children, dependents, and pets. The village was also populated by project overseers and service workers such as washermen VILLAGE and midwives.

The of , in whom the pharaoh placed all his trust, supervised the community of Deir el-Medina. He assigned jobs to each of its members and ON THE WEST BANK OF THE NILE IN THEBES, about an hour’s walk was responsible for enforcement, but he also ensured that these men worked and from the Valley of the Kings, lie the ruins of Deir el-Medina, a workers’ village lived in decent conditions. A central problem for this remote village was its water that has survived in the desert for more than 3,000 years. It is surprising that the supply. The nearest well was 30 minutes away on foot, and the burden of carrying site has remained in such good shape considering the buildings’ humble mud- water fell to the commoners. brick construction. However, thanks to the arid climate and remote location, the extensive complex has remained remarkably intact. When a new pharaoh came to power, a team of about 60 people was assigned to dig his grave and decorate its walls, which included figurative scenes and sacred texts. The men’s working and living conditions varied significantly depending on their function and rank. Their work was arduous given the relative inefficiency of the tools used and the extreme heat. The men worked inside the tombs by the dim light of torches or oil lamps, complicating their tasks. They often suffered from injuries, scorpion stings, and eye ailments. However, working time was regulated: a total of about eight hours divided equally between morning and afternoon. They also had weekly rest days and regular feast days, enabling the craftsmen to visit their families.

We know many of these incredible details about the lives of everyday workers in ancient Egypt from artifacts uncovered at Deir el-Medina. Thousands of written records in the form of papyri and ostraca—fragments of limestone or pottery that served as sketchbooks for budding artists and scribes—were found at the site and are now part of the remarkable collections of the Museo Egizio in Turin. In addition, well-preserved buildings, tools, and sacred objects have provided us with an intimate glimpse into the way ordinary people lived in this ancient land. Deir el-Medina sprawls across the desert near the Valley of the Kings Photo: Kenneth Garrett

14 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 15 THE 6 STAGES OF MUMMIFICATION IN EGYPT DEATH & The corpse was placed in the care of the 1. embalmers, a group of priests that per- MUMMIES formed its duties privately. The embalmers’ actions were accompanied by very precise incantations. A noble’s tomb Photo: Caroline Thibault

RITUALS HONORING THE EGYPTIAN GODS As soon as the body was received, it was laid out on a work table similar to those used in present-day forensic labs. The body was first washed with a The ancient Egyptians participated in daily ritual practices forged over several 2. mixture of water and natron (a mineral powder composed of hydrated sodium centuries to dispel their greatest fears: that the sun would not rise again and that carbonate), then waxed to make it look as young as possible. the gods would abandon them. The pharaoh or a priest would wake up at dawn for With an iron hook, the brain was partially extracted through the nostrils; the the morning offering ceremony, when he would greet the statue that embodied remaining part was dissolved by injecting fluids. the particular deity, awaken it, feed it, wash it, clothe it, and finally perfume it. 3. Offerings—consisting of breads, cakes, beer, meats, vegetables, and fruit—would be An incision was made along the side of the abdomen, allowing the priests to extract the deceased’s internal organs by hand. Each organ was washed with laid out for the god. Then the statue would be washed and covered with pieces of 4. scented oil and water, wrung out, then wrapped in cloths. The lungs, liver, linen and its forehead anointed with oil. stomach, and intestines were placed in four funerary urns called canopic jars filled with the remaining blood and other bodily fluids. These rituals were believed to help maintain the proper order of the world, protecting the ancient Egyptians from disorder and chaos. The daily worship Once the organs were removed, the drying process began. The embalmers placed small linen pouches filled with myrrh and natron inside the empty body. maintained the deity’s presence on Earth, and in return, the Egyptians were given 5. Next, the body was covered by a mound of dry natron for 70 days giving the life, health, and strength. The Egyptians believed in a mythical time when humans body the appearance of a skeleton covered in a leather sheath. The body was and gods coexisted, so it was imperative that they constantly renewed their bond. then washed, desalinated, and softened by massaging scented sacred oils and fats into it. The mouth underwent a special treatment with hot wax, myrrh, and Many Egyptian rituals also focused on reaching the afterlife. One terebinth. The priests left the eyes of the deceased in place behind the eyelids, believing that in the afterlife the deceased would open his or her eyes again. of the most important beliefs was that a person could not Now the body was ready to be wrapped in resin-coated linen strips. reach the afterlife if their body did not survive. This is why Egyptians preserved the bodies of the deceased through Last, the priests placed a mask of pure gold, cedar, cartonnage, or gilded stucco over the face of the mummy. The deceased could now take their place mummification. It was discovered in predynastic times that 6. in the cosmic order. sand and lack of moisture lead to desiccation of the body. Over time, embalmers learned to replicate this natural process artificially. These are the steps they followed:

Funerary stela of a stonemason of Amun in Thebes Painted limestone, Deir el-Medina Photo: © Museo Egizio, Turin

Opposite page: Canopic jars, limestone. Third Intermediate Period, 21st–24th dynasties Photo: © Rijksmuseum van Oudheden, Leiden, the Netherlands

16 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 17 Q: You recently released your book A: We should ask ourselves these ques- When Women Ruled the World. tions: Do women rule differently than Throughout your studies, which men do? Why are human beings so queen would you say has resonated hostile to female power? What about Q&A WITH with you the most? ancient Egypt was different? In Egypt, A: I have to say Hatshepsut, featured in they allowed women to come into my first trade book, The Woman Who power repeatedly to protect the divine KARA COONEY Would Be King. She tried to be the kingship. The greatest female power EGYPTOLOGIST AND NATIONAL GEOGRAPHIC EXPLORER “good girl” and the good leader. I keep was there to protect the most unequal thinking about that, what does it mean of patriarchal authoritarian systems. to live in a patriarchal society that en- Egyptians knew that women ruled dif- Q: What initially drew you to studying Q: Can you speak to your experience courages good girls and oftentimes ferently. They picked them as advisors , specifically Egyptian art at Deir el-Medina? Any monumental “bad boys”? What does it mean to be to protect kings from warlording, es- and ? archaeological finds? told to stay in your place, to act a cer- pecially young kings who were unready A: I don’t know why I’ve always loved A: On my expedition there, I looked at tain way, to keep your ankles crossed, for the throne. They would choose the old and the dead, but I have! As for coffins from the 19th and 20th dynas- to control your sexuality, and to be to not put a man in charge as advisor Egyptian art and architecture, my initial ties. I was sorely disappointed to find good? Hatshepsut did all of these because that man might try to take foray into Egyptology was very artisti- that the remnants of Deir el-Medina things while pharaoh—she was so good power whereas a woman would be cally driven because the hieroglyphs had been organized according to a that she made herself into a man by more likely to step back from rule and and the texts are so exclusionary, and Western mind, that of Bernard Bruyere, the end. Her statues depict her as this be the “good girl.” I’m trying to wake they are like that on purpose. We are an archaeologist and Egyptologist who buff and strong king with a square jaw everybody up to see that women con- drawn to the pretty pictures because worked there from the 1920s to the and broad shoulders. In fact, she was tinue to be used to protect a system we feel that we can see, touch, and 1950s. Bruyere would find tombs and so indistinguishable from a man that it that does not necessarily serve them. know the ancient Egyptians, but really, artifacts semi-intact and he would split was easy for later kings to remove her It’s important to really understand learning to read hieroglyphs was and them up and put all the coffins in one name and replace it with the name of how women are cogs in the patriarchal is very difficult. As I’ve gotten older room, all the bodies in another room, her father or husband. I understand machine. I want to go back to the idea and as my Egyptological career has de- and all the pottery in a third room, now how effective leadership has to that gender works along a gradient. veloped, I have found myself moving taking away the context of the site. He include a touch of idiosyncrasy or indi- There are females that inhabit more more toward the social, the text, and recorded them and drew pictures but viduality that makes it a bit harder for of a masculine reality and males that the system, and away from the pretty never said where anything had come somebody to take credit for your work. inhabit more of a feminine reality. I’m pictures, because I don’t trust them from and they ended up just being As a result of Hatshepsut’s traditional- not trying to make it men vs. women. anymore. I know that they’re all trying piles of coffins, bodies, and pottery. ism, her legacy was erased—she’s not Essentially, I want to empower women to present a perfected and idealized I’ve since sent Anne Austin, an assistant part of our cultural memory. to create a sisterhood for the first time society, and now I find myself trying to professor at the University of Missouri– that serves themselves as well as the pull the veils away from Egyptian soci- St. Louis, to Deir el-Medina to organize Q: Can you draw a connection be- whole, rather than just serving the men ety to see what was really going on. the pile of bodies. She has done amaz- tween ancient Egypt’s queens and around them. That to me is a true fem- ing work as a bioarchaeologist, but women in power today? Is there any- inism that I don’t think we’ve been able there’s a lot of work left to be done. thing we can learn from them? to approach yet. Photo courtesy Kara Cooney

18 BUY TICKETS TODAY NATGEOMUSEUM.ORG QUEENS OF EGYPT 19 Photo: Caroline Thibault IN THE FIELD WITH HIGHLIGHTED EVENTS AT NATIONAL GEOGRAPHIC IN D.C. NATIONAL SCHEDULE AND TICKETS AT NATGEOEVENTS.ORG/DC GEOGRAPHIC

AT NATIONAL GEOGRAPHIC, we strive to increase our understanding of what it means to be human. We invest in bold INTO THE ARCHIVE: SECRETS OF EGYPT archaeologists and anthropologists who dig into the stories of APRIL 2 | 6 PM | SOLD OUT ancient civilizations in order to draw connections to who we See exclusive footage and photos from historic National are today. Geographic expeditions in Egypt, including unpublished Among National Geographic grant recipients doing fascinating autochromes of the Sphinx and much more. Photo: Hans Hildenbrand work in Egypt are Nora Shawki and Jay Silverstein. Shawki and Silverstein conduct their research at Tell Timai, a site on the Nile Delta housing the first known perfume factory in Egypt. The Photo courtesy Nora Shawki Nora courtesy Photo most famous perfume in all of the ancient world is called Men- TOUR OF “QUEENS OF EGYPT” desian, named after the nearby site Mendes. The perfume, made from ingredients from all over APRIL 16 | 6 PM | SOLD OUT the ancient world, was both a fragrance and a medicine. Silverstein and Shawki discovered vats Enjoy an exclusive guided tour of our exhibition “Queens of from the Ptolemaic period that were likely used to make the perfume, as depicted in scenes Egypt” with archaeologist and National Geographic Fellow engraved on elite tombs. Their analysis of the residues from the vats may be able to tell us what Fred Hiebert. See over 300 prestigious objects and take a 3-D Mendesian perfume was actually made of during the time of Cleopatra. tour of a well-preserved tomb in the Valley of the Queens. Photo: Caroline Thibault

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