The Mummy of Wah Unwrapped

Total Page:16

File Type:pdf, Size:1020Kb

The Mummy of Wah Unwrapped The Mummyof Wah Unwrapped H. E. Winlock From The Metropolitan Museum of Art Bulletin (December 1940) The digging in Egypt was about over The first photograph gave us a sud- in March 1920, and we had already den surprise. From Wah's neck, down made the surprising discovery of the over his chest, and about his wrists funerary models of Meketra (dis- crossed in front, there was a whole in the cussed in the preceding article) when series of objects clear enough We could our men, clearing up the ruined portico x-ray to be easily identified. beads around of his big tomb, unexpectedly struck recognize strings of the buried entrance of a little tomb his neck, a broad bead collar over his which had been under it. Rough breast, bracelets and anklets on his arms and and steps going down had been success- legs, extraordinarily scarabs near his wrists. fully hidden with shale chips, and the large door was still blocked little tomb we wanted to this with a stout brick but once that Naturally, put wall, on exhibition, but at the same had been removed we found our- jewelry time we wanted to the rock-cut room preserve selves in a narrow, and so it was decided which no one had seen for mummy, finally nearly to take careful notes and detailed centuries. At the back there forty before it was unwrapped, was a coffin the name of a photographs bearing and then to make a faithful replica certain and in it, under a of Wah, pile with its own mask and bandages after laundered bed linen, a mummy lay we had removed the jewelry. with wrappings still as fresh as the day it had been buried. The outermost piece of linen on Wah's 1) was a shawl, The meal of beer and bread and meat mummy (Figure wrapped kilt-like about him, with its beside the coffin was so simple, and around his waist tucked in the fringed edge so were the few objects coffin, in in front. It had often been to the that there seemed little likelihood it is now but had doubt- of value inside laundry; pink of there being anything less once been a henna red; and down Wah's we bandages. Furthermore, the front are two very washed-out had found his title written in ink on lines of hieroglyphs, written in black, the bed sheets and knew that some of which read: "Linen of the temple he was an "Overseer of a simply Nytankhsekhmet, the justi- and since this was not protecting Storehouse," fied." What temple was meant, or the sort of who be person might who the person Nytankhsekhmet to be buried with so expected jewels, may have been, we probably shall as it was far our experience went, never know, for she is not mentioned decided not to him but to unwrap on anything else we ever found. show his mummy in the Museum, just as it was found. After we had taken off the kilt we unwound a dozen bandages spiraling For fifteen years the mummy of Wah had been on exhibition alongside the funerary models of his employer Wah it was Meketra, when it was used in some 1. The mummy of before experiments with an x-ray apparatus. unwrapped The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin ® www.jstor.org up and down the mummy, each about laid on it, perhaps because it had as wide as one's hand and several been put on at the end of one day's nearly forty feet long. Then came work and had become hard by morn- sheets wrapped around, or big pieces ing, when the next wrappings had of linen folded as pads and laid on been wound on. When we had re- to fill the mummy out until it was moved it, the bandages it had pene- practically a cylinder. Later we came trated, and another dozen sheets and to a layer of bandages streaked with pads, we came to the first of Wah's the very thin dregs of a pot of resin, jewelry (Figure 6). probably smeared on with incanta- There were four bead each tions for Wah's continued existence, necklaces, with its cords tied behind the for its purpose must have been magic nape of his neck There was a - it could have had no preservative (Figure 5). effect. A score more of sheets and string of 11 big, hollow, silver spheroid beads little pads were then unwrapped, and Wah, separated by cylinders, and another of 28 smaller ones from having been a very stout party, string of A third was of 48 blue was becoming more and more slender, gold. string faience ball and a fourth of and the face which had been peeking beads, 28 and oval beads of out of thick folds of linen now ap- cylindrical moss peared as part of a stucco mask ex- carnelian, amethyst, agate, milky black and white tending down to his waist (Figure 2). quartz, porphyry, and green glazed steatite. The dents The pinched little face was gilded, in the hollow metal beads and the and on it were painted a thin mous- fraying of the cords of the silver and tache and, around the jowls, scant of the faience necklaces show that whiskers. A highly conventionalized at least three of these strings had wig, striped light blue and dark green, actually been worn by Wah or by covered the head, and a crudely I0 some of his family. painted broad collar with red, blue, Half a dozen more and and green rows of beads was shown bandages pads and then we came to more suspended on the brown chest. It jewelry. Another of 45 blue faience was a barbarous-looking affair, but string deep after all, Thebes was still a rather ball beads had simply been bundled and laid on the countrified, Upper Egyptian town together mummy's when Wah died, and this mask was chest, and over his crossed arms there had been four scarabs. clearly bought from one of the more placed large old-fashioned of the local artisans. One was of plain blue faience, with- out any inscription or other device, and When we had taken off the mask and strung simply on a short hank of linen ten more sheets and pads, we came threads. The other three are among to another layer of resin, thick and the surprises of our Egyptian work. black this time, poured all over the front of the body except the head and 2. After many layers of wrappings face (Figure 3). It had been prac- were taken off, Wah's stucco mask tically dry when the pads had been was uncovered 3 (left). Thick, black resin had been poured over this layer of Wah's A;L j : , wrappings * tA < F t lE o ]t~:: 4 (right). The larger silver scarab: the lead had been deliberately damaged 5 (below). Wah's necklaces Two are of massive silver and the mummy the faces of both the silver lazuli one had third of lapis lazuli. The larger silver scarabs and of the lapis scarab (Figure 4) is 11/ inches long been purposely and methodically m and the smaller, 11/ inches; each was hammered and pecked as though to after the made up of separate pieces, molded blind them. Then, blinding, and chased and then soldered to- each scarab was strung on a stout one The lapis lazuli scarab is 176 linen cord with barrel-shaped gether. which ob- inches long and perfectly plain, but on and one cylindrical bead, the bases of the two silver ones there viously made them into amulets to Wah some of the are graceful, meandering scrolls protect against of the life to come. But interspersed with hieroglyphs which many perils what? This is another of our made easily recognizable seal devices. against Both silver scarabs were oxidized, unanswered riddles. Such amulets never been found before, and and when we began to clean the have in the friezes one we found hieroglyphs skill- they are shown painted larger the coffins inlaid on its back in gold, inside only two of many fully pale in those on the one wing reading, "The of Wah's time, unfortunately Nobleman Meketra," and on the neither case named or explained. other, "The Overseer of a Storehouse Wah"- the names of the owner of Next we unwrapped half a dozen large the scarab and the noble for whom bandages and twice as many pads he worked. The scratches and dents and sheets, each one more stained than the last. the on the polished surfaces of this silver with resin Clearly seal scarab and its smaller mate, and linen we were now taking off had while the wear in their gold string-holes been put over a third resin layer we showed that they had seen real use. it was still soft, and when got stuck fast in it But it was surprising to find that just down to it we found of before they had been put on the a broad collar ( Figures 7, 8) green- 6. The mummy showing the first of Wah's jewelry: necklaces made of silver, gold, faience, and semiprecious stones (also illustrated as the four lower necklaces in Figure 5) ish blue beads on Wah's chest and whatever width they required at was the resin matching bracelets on his wrists and the moment. Nearby ankles.
Recommended publications
  • A New Evil Awakes the ‘Mummy’ Franchise Had Its Way with Egyptian History
    16 發光的城市 A R O U N D T O W N FRIDAY, AUGUST 8, 2008 • TAIPEI TIMES A new evil awakes The ‘Mummy’ franchise had its way with Egyptian history. Now it’s moved to China for more of the same BY Ian BartholomeW StAFF REPORTER hen you leave the theater believing that Dwayne “The Rock” Johnson put in a W nuanced performance in The Scorpion King, and that Rush Hour 3 is the last word on insightful cross-cultural filmmaking, you realize you THE MUMMY: TOMB OF THE have witnessed the blockbuster action film hit a new DRAGON EMPEROR low. You do not go into a film titled The Mummy: playing Tomb of the Dragon Emperor expecting much DIRECTED BY: ROB COHEN Fraser’s better subtlety. But the ham-fisted battering you receive half is a bad piece of from a production team that runs through all the STARRING: BRENDAN FRASER (RICK O’CONNELL), JET miscasting, and places further strain on the film’s genre cliches in such a cynically derivative manner LI (李連杰, AS EMPEROR HAN), MARIA BELLO (EVELYN credibility. is a sad reflection of where a reasonably entertaining O’CONNELL), JOHN HANNAH (JONATHAN CARNAHAN), Obviously, from a marketing perspective, one franchise can be taken in the interests of making MICHELLE YEOH (楊紫瓊, AS ZI JUAN), LUKE FORD (ALEX of the main interests of The Mummy: Tomb of the more money. (The film made US$101.9 million O’CONNELL), ISABELLA LEONG (梁洛施 AS LIN), ANTHONY Dragon Emperor is that it is set “in China,” and that worldwide in its opening weekend last week.) WONG (黃秋生, AS GENERAL YANG) it has several Hong Kong stars.
    [Show full text]
  • Bibliography
    Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza­ Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P.
    [Show full text]
  • Meet the Gilded Lady 2 Mummies Now Open
    Member Magazine Spring 2017 Vol. 42 No. 2 Mummies meet the gilded lady 2 mummies now open Seeing Inside Today, computerized inside of mummies, revealing CT scans of the Gilded Lady tomography (CT) scanning details about the person’s reveal that she was probably offers researchers glimpses age, appearance, and health. in her forties. They also suggest of mummified individuals “Scans like these are noninvasive, that she may have suffered like never before. By combining they’re repeatable, and they from tuberculosis, a common thousands of cross-sectioned can be done without damaging disease at the time. x-ray images, CT scans let the history that we’re trying researchers examine the to understand,” Thomas says. Mummy #30007, known as the Gilded Lady, is one of the most beautifully preserved mummies from The Field Museum’s collection, and one of 19 now on view in the special exhibition Mummies. For decades, keeping mummies like this one well preserved also meant severely limiting the ability of researchers to study them. The result is that little was known about the Gilded Lady beyond what could be gleaned from the mummy’s exterior, with its intricate linen bindings, gilded headdress, and painted facial features. Exterior details do offer some clues. The mummy dates from 30 BC–AD 395, a period when Egypt was a province of the Roman Empire. While the practice of mummification endured in Egypt, it was being transformed by Roman influences. Before the Roman era, for example, mummies had been placed in wooden coffins, while the Gilded Lady is preserved in only linen wrappings and cartonnage, a papier mâché-like material.
    [Show full text]
  • The Horror Film Series
    Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors.
    [Show full text]
  • Mummies and Mummification Practices in the Southern and Southwestern United States Mahmoud Y
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Karl Reinhard Papers/Publications Natural Resources, School of 1998 Mummies and mummification practices in the southern and southwestern United States Mahmoud Y. El-Najjar Yarmouk University, Irbid, Jordan Thomas M. J. Mulinski Chicago, Illinois Karl Reinhard University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/natresreinhard El-Najjar, Mahmoud Y.; Mulinski, Thomas M. J.; and Reinhard, Karl, "Mummies and mummification practices in the southern and southwestern United States" (1998). Karl Reinhard Papers/Publications. 13. http://digitalcommons.unl.edu/natresreinhard/13 This Article is brought to you for free and open access by the Natural Resources, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Karl Reinhard Papers/Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in MUMMIES, DISEASE & ANCIENT CULTURES, Second Edition, ed. Aidan Cockburn, Eve Cockburn, and Theodore A. Reyman. Cambridge: Cambridge University Press, 1998. 7 pp. 121–137. Copyright © 1998 Cambridge University Press. Used by permission. Mummies and mummification practices in the southern and southwestern United States MAHMOUD Y. EL-NAJJAR, THOMAS M.J. MULINSKI AND KARL J. REINHARD Mummification was not intentional for most North American prehistoric cultures. Natural mummification occurred in the dry areas ofNorth America, where mummies have been recovered from rock shelters, caves, and over­ hangs. In these places, corpses desiccated and spontaneously mummified. In North America, mummies are recovered from four main regions: the south­ ern and southwestern United States, the Aleutian Islands, and the Ozark Mountains ofArkansas.
    [Show full text]
  • The Global History of Paleopathology
    OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN TH E GLOBA L H ISTORY OF PALEOPATHOLOGY 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd i 11/31/2012/31/2012 44:03:58:03:58 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iiii 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN TH E GLOBA L H ISTORY OF PALEOPATHOLOGY Pioneers and Prospects EDITED BY JANE E. BUIKSTRA AND CHARLOTTE A. ROBERTS 3 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iiiiii 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN 1 Oxford University Press Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With o! ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland " ailand Turkey Ukraine Vietnam Copyright © #$%# by Oxford University Press, Inc. Published by Oxford University Press, Inc. %&' Madison Avenue, New York, New York %$$%( www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. CIP to come ISBN-%): ISBN $–%&- % ) * + & ' ( , # Printed in the United States of America on acid-free paper 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iivv 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN To J.
    [Show full text]
  • Human Cremation in Mexico 3,000 Years Ago
    Human cremation in Mexico 3,000 years ago William N. Duncan*†, Andrew K. Balkansky‡, Kimberly Crawford‡, Heather A. Lapham‡, and Nathan J. Meissner‡ *Department of Anthropology, St. John Fisher College, Rochester, NY 14618; and ‡Department of Anthropology, Southern Illinois University, Carbondale, IL 62901 Edited by Joyce Marcus, University of Michigan, Ann Arbor, MI, and approved February 22, 2008 (received for review November 10, 2007) Mixtec nobles are depicted in codices and other proto-historic ological contexts and osteological analyses of the burials, and documentation taking part in funerary rites involving cremation. evaluate the evidence based on known aspects of the Mixtec The time depth for this practice was unknown, but excavations at mortuary program. These early examples of cremation, along the early village site of Tayata, in the southern state of Oaxaca, with other factors, could reflect the emergence of ranked Mexico, recovered undisturbed cremation burials in contexts dat- society in the ancient Mixteca Alta and indicate that proto- ing from the eleventh century B.C. These are the earliest examples historic methods of marking social status had precursors of a burial practice that in later times was reserved for Mixtec kings extending back 3,000 years from the present. and Aztec emperors. This article describes the burial contexts and human remains, linking Formative period archaeology with eth- Archaeological Context nohistorical descriptions of Mixtec mortuary practices. The use of Survey and excavation indicate that Tayata was among the cremation to mark elevated social status among the Mixtec was largest villages of the preurban Formative period in the established by 3,000 years ago, when hereditary differences in Mixteca Alta of Oaxaca, Mexico (18, 19).
    [Show full text]
  • Movies & Languages 2013-2014 Hotel Transylvania
    Movies & Languages 2013-2014 Hotel Transylvania About the movie (subtitled version) DIRECTOR Genndy Tartakovsky YEAR / COUNTRY 2012 U.S.A GENRE Comedy, Animation ACTORS Adam Sandler, Andy Samberg, Steve Buscemi, Selena Gomez PLOT The Hotel Transylvania is Dracula's lavish five-stake resort he built for his beloved wife Martha and their daughter Mavis. Monsters and their families are invited to Mavis's 118th birthday party where they can live it up, free from meddling with the human world. But here's a little known fact about Dracula: he is not only the Prince of Darkness; he is also a dad. Over-protective of his teenage daughter, Mavis, Dracula fabricates tales of elaborate dangers to dissuade her adventurous spirit. As a haven for Mavis, he opens the Hotel Transylvania, where his daughter and some of the world's most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, gremlins and more – can kick back in safety and peace. For Drac, catering to all of these legendary monsters is no problem but his world could come crashing down when one ordinary guy discovers the hotel and takes a shine to Mavis. LANGUAGE Simple English spoken in Eastern European, American and French accents GRAMMAR INDEPENDENT ELEMENTS/INTERJECTIONS Introductory - Oh! ah! alas! Ha ha, ha! hollo! hurrah! pshaw! etc. express sudden bursts of feeling. As they have no grammatical relation to any other word in the sentence, we say that they are independent. Words belonging to other parts of speech become interjections when used as mere exclamations: What! are you going? Well! you surprise me Other words besides interjections may be used independently: Come on boys Well, we will try it Now, that is strange Why, this looks right There is reason in this Boys simply arrests the attention of the persons addressed.
    [Show full text]
  • Ötzi the Iceman Worksheets
    From mummies to mitochondria, skeletons to sequencing, Denisovans to DNA, molecules to murder…. Our human Inheritance Understanding our genetic ancestry & what makes us human featuring Ötzi the iceman Look at the mummy! Did you know: The Making of Ötzi’s Replica What type of images were used to make Ötzi’s ancient tattoos were the 3D print of Ötzi? made by making fine cuts in his skin and then rubbing charcoal in the cuts. Where in Italy is the real mummy stored? Ancient Ink Ötzi has 57 visible tattoos in the form of small lines and crosses. (4 cannot be seen.) Fatal Wound FIND and DRAW as many tattoos as you can on the illustration of the iceman’s mummy Evidence suggests that Ötzi was shot by (each line counts as a single tattoo; a cross an arrow, and this caused his death. would count as two). MARK the location of the arrow wound with an “X” on the Ötzi to the right. Damage CIRCLE the area of the mummy that is damaged. Did you know? The arrowhead that caused Ötzi to Did you know: bleed to death wasn’t This damage was caused discovered until 10 years after accidentally by a power tool the mummy was found. during the recovery of the mummy in 1991. Ötzi the iceman Read the panels! Did you know? Did you know? A paper published in 2016 All except one of Ötzi’s shows that Otzi also carried H. fingernails were missing; a pylori, a bacteria associated single detached nail was with stomach ulcers! found by his body! DNA Analysis Scientists identified DNA from different bacteria One of Ötzi’s fingernails had horizontal ridges and other living things.
    [Show full text]
  • Level 2 – the Mummy Returns – Penguin Readers
    Penguin Readers Factsheets Level 2 – ElementaryLevel The Mummy Returns Teacher’s Notes The Mummy Returns by John Whitman based on the motion picture screenplay written by Stephen Sommers Summary In The Mummy Returns there are characters who once lived in the in Morocco, Jordan, and in London. Brendan Fraser plays Rick past, in ancient Egypt. They are now living in the modern world. O’Connell, Rachel Weisz plays his wife Evelyn. Patricia Velazquez The archeologist, Evelyn O’Connell, (who was Nefertiri in the past) plays Anck-su-namun, and Arnold Vosloo plays her lover, Imhotep. is married to the archeologist Rick O’Connell (an important man in Freddie Boath plays Alex and adds both suspense and comedy to the past with great powers). They met in Egypt in 1923 when they the movie. The professional wrestler the Rock plays the Scorpion were working in temples in Egypt and found the mummy of King. Imhotep, who had been sleeping for 3,000 years. When Imhotep The movie uses lots of Indiana Jones-style adventures and Star woke up, he tried to kill Evelyn, but Rick saved her. Then Rick and Wars-style special effects. It is fast-paced, with lots of surprises, Evelyn returned to England, they married and had a son, Alex. battles, love scenes, and horror. And like Indiana Jones, there are Now it is 1933 and they are back in Egypt with Alex, who is eight lots of jokes and funny moments that break the suspense, years old. They are looking for the Bracelet of Anubis. Anubis is a especially when Evelyn’s brother Jonathan is around.
    [Show full text]
  • Ancient Egypt – How Were Mummies Made?
    Notes for teachers Ancient Egypt – How were mummies made? Aims To help students understand the process of mummification To provide students with initial information suggesting why bodies were mummified To encourage students to consider a range of sources in their enquiries Description A sequence of 10 slides to explore an overall question: ‘How were mummies made?’ Slide 2 is a quote from Herodotus describing mummification Slides 3 to 9 describe the process of mummification Teaching ideas The presentation can be used on a whiteboard with the whole class or could be followed by individual students or groups. Use slide 2, Herodotus’ description of mummification, to break the process into stages. These could be supported and linked to images of objects used during each process. Explore the types of evidence used to show the process of mummification in this presentation. Discuss the use of written evidence and evidence derived from objects. Use the presentation as a starting point for understanding why mummification and the survival of the body was important to the ancient Egyptians. Explore the Mummification chapter of the British Museum’s Ancient Egypt website: www.ancientegypt.co.uk which provides information on mummification, a virtual mummy and coffin to explore and a challenge to journey through the underworld. Notes on the pictures Slide 3: Removal of the organs (images listed below in the order they appear) Bronze probe from Egypt, after 664 BC. Hooks such as this were used to remove the brain. X-rays of mummies sometime show small broken bones in the naval cavity caused when removing the brain.
    [Show full text]
  • Prehistoric Art
    PREHISTORIC ART THE BEGINNING Not until 25,000 years ago did out forebears invent art • The first art objects were created not to adorn the body or decorate the cavern--- But attempt to control or appease natural forces CAVE PAINTING • FIRST PAINTINGS WERE MADE ABOUT 15,000 YEARS • BEFORE THE DISCOVERY IN 1996 THE IMAGES AT LASCAUX, FRANCE WERE THE OLDEST KNOWN PAINTINGS IN EUROPE • PAINTINGS MOST REMOTE RECESSES OF THE CAVE—WHERE THERE WAS NO SUNLIGHT WHY DID THEY PAINT THESE IMAGES? • Maybe : • certain animals are symbolic • others represent mythical spirits • to contact spirits in another world • to track migration patterns • related to ritual occasions HORSE CAVE PAINTING 13,000 B.C. SCULPTURE OLDEST SURVIVING ART OBJECTS ARE SCULPTURES VENUS OF WILLENDORF • 25,000- 20,000 BC • ONE OT THE EARLIEST KNOWN HUMAN FIGURES • VENUS GODDNESS OF LOVE • FERTILITY IMAGE • CARRIED AROUND AS AN AMULET—GOOD LUCK CHARM • ONLY FEATURES SHOWING BELLY, BREASTS AND PUBIC AREA • ONLY 5 INCHES TALL • Paleolithic Period:::OLD STONE AGE • After 4000 years gave way to: • NEOLITHIC OR NEW STONE AGE • New stone tools---learned to farm—domesticate animals (cattle—goats –etc.)help with labor, food, milk and leather • Technology of pottery • Settled communities ---architecture of stone and wood were starting to be built ARCHITECTURE STONE HENGE 2,000 B.C. Certain conditions foster preservation of Art • Durable materials ( stone-metal-fired clay) • Local of environment not destructive to artworks • Stable population- • Putting artworks in places of limited or no
    [Show full text]