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Home , Azbakeya, Boulaq, DB320, Graffito (archaeology), KV43, Mummy (undead)

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From The Editor Boulaq1

Nobody is certain about where this name Important Ports in , and it was the place driven from, some says that the source is for gathering of most of the Traders2. French, “Bon Lake” which means “the The great attention of started since beautiful lake”, others believe that the name the French expedition to 1798, as a long must have Paranoiac origin . road made to connect it with , with Some stories talk about that Boulaq formed trees on both sides. when a big ship sunk near its place , then year And no doubt that Boulaq enjoyed the after year when the flood , the mud cover Golden Age at the time of Mohamed Ali Pasha, the area makes it higher to form a new land, He established a shipyard, and Boulaq became which Boulaq Nowadays .Even the island on a big industrial area. the other side “” used to known as “Boulaq Island”. Sure we cannot forget that Boulaq was the place for the first press in Egypt, and as well Some History References talking about the the place of the second antiquity museum 1858, Nile 7th Fling at 1771 which ends at Boulaq, after the one in neighborhoods Azbakeya at increasing the size of the district, later the new 1835. shores of Boulaq became one of the most

1 For more details, read Abbas Al-Trabily. 2 Boulaq is no longer considered as a port.

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The Heritage of Egypt

Volume 1 Number 3 Issue 3 September 2008 in this issue: The history, , and legacy of Egypt

Editor: Egyptian Discoveries Amgad Refai in Swiss Museums E-mail: [email protected] Alexandra Küffer 3 Published by: Al-Hadara Publishing Cairo, Egypt

www.alhadara.com E-mail: [email protected] Fax: (20 2) 3760 58 98

© Al-Hadara Publishing

The Publisher and the Editor are not liable for statements made and opinions expressed in this publication.

Pharaoh Faseekh Dylan Bickerstaffe 12 Legal Deposte No. 18063/2008

The Restoration in the Tomb of Medicine in Ancient Tuthmosis IV, KV43. Egypt Stephen W. Cross 9 Abdelhalim Nureldin15

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Egyptian Discoveries in Swiss Museums

Alexandra Küffer In the 19th and early 20th centuries several over the country most of them had never been coffins and were brought from Egypt studied in depth nor fully published (fig. 1). This to Switzerland. For the first time, these specimens regrettable situation motivated the two have now been the subject of an extensive study Egyptologists Alexandra Küffer and Renate by Egyptologists and physicians. The following Siegmann to initiate the “Swiss Coffin Project” article gives a summary of the joint project and in 2004. Its objective was to assemble the most presents one of the most remarkable burial remarkable pieces in a publication in order to equipments preserved in Swiss museums. make these nearly forgotten treasures accessible to a wider audience. In the following years, The wonders of Egypt twenty-two coffins from sixteen Swiss museums th By the middle years of the 19 century, underwent a detailed and careful study (fig. 2); Europe had fallen under the spell of Egypt and seven masks were also included in the its wonders. Fascinated by the archaeological research. As eleven coffins still contain their remains along the Nile, many countries acquired mummies, the Egyptologists joined forces with antiquities that laid the foundations of now the team of the “Swiss Mummy Project” under world-famous museum collections. In the direction of Thomas Böni and Frank J. Rühli Switzerland too, Egypt became increasingly for the medical examination of the bodies. The popular. But being a small country without any results of this interdisciplinary study were diplomatic mission in Egypt at that time, the published by Küffer and Siegmann 2007 in a acquisition of antiques took place on a more volume entitled “Unter dem Schutz der modest scale. Nevertheless between 1820 and Himmelsgöttin. Ägyptische Särge, Mumien und 1930 nearly thirty coffins, some with their Masken in der Schweiz” (Under the Protection mummies came to Switzerland. Dispersed all of the Sky Goddess. Egyptian Coffins, Mummies and Masks in Switzerland) with contributions by Böni and Rühli. Photo: pmimage.ch Photo:

Fig. 1: The well preserved coffin and mummy of priest Nes-Shu in the museum of Yverdon, Switzerland, dates from the third century BC. and is the most complete burial equipment from in a Swiss museum.

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C M Y CM MY CY CMY K Map: Alexandra Küffer Map: Alexandra

Fig. 2: Map of Switzerland with the location of the museums that participated in the “Swiss Coffin Project”. Marked in yellow is Yverdon, a town in the French-speaking part of Switzerland where the coffin and mummy of Nes-Shu have found their final resting place.

Forgotten treasures where important discoveries were made in the second part of the 19th century. Hundreds of All of the coffins described in the book date coffins and mummies were taken from their from the first millennium BC, a period of ancient surroundings and the funerary Egyptian history that is still relatively unknown equipments subsequently dispersed among to the public and therefore represents a particular various collections around the globe. interest. The studied material offered a good opportunity to outline the development of the Not only the coffins themselves but also their coffins and the changes in their decoration acquisition stories turned out to be very during that period. It showed that the coffins of interesting. Most of them were presents to their the first millennium BC represent the home towns given by Swiss citizens living in culmination of centuries of evolution. Their Egypt. Due to the cotton boom, quite a few Swiss images and inscriptions created a sacred had moved on the Nile by the mid 19th century environment protecting the mummy and and settled mainly in Alexandria and Cairo. In ensuring the well-being of the deceased in the 1866, there were for instance at least sixteen . The coffins as one of the most important Swiss trading companies located in Alexandria. items of funerary equipment give us precious These emigrants always stayed much attached insights about the mortuary beliefs of the ancient to their home country and, whenever possible, Egyptians. offered generous presents to their home towns or villages. Coffins and mummies represented The detailed analysis of the coffins and their items very much in demand at that time, so they comparisons with similar pieces in foreign soon became favourite souvenirs from Egypt. museums made it possible to identify their provenances. The majority comes from the large cemeteries of Western Thebes and Akhmim,

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Fig 3: Edwin Simond Bey (1856 – 1911), his finds to the museum of Alexandria. In whose family originally came from Yverdon, recognition of his merits the khedive Taufiq worked in Egypt as an Agronomist and had awarded Edwin Simond the honorary title of a passion for archaeology. 1896 he offered Bey in 1887. As a further sign of esteem and on the coffin of Nes-Shu with its mummy to the special recommendation of the khedive, the museum of his hometown. coffin of Nes-Shu was presented to Simond a few years later. He decided to donate this precious item to the museum of Yverdon, home town of his family. Coffin and mummy arrived there in July 1896 and were welcomed by the mayor with an official ceremony during which the mummy was unwrapped in front of the crowd by three specially invited doctors. The arrival of an ancient Egyptian in Yverdon was a big event and made a deep impression on the local population. For weeks “this wondrous piece” was the main subject in the local newspapers. Up to that day, the coffin and mummy of Nes-Shu have remained very popular among the inhabitants of Yverdon. A coffin with a certificate The coffin of Nes-Shu is remarkable in several ways. Consisting of the intact coffin, its mummy, the mummy mask and the Cartonnage elements that were covering the body as well as a funerary and amulets for magical protection, this A gift from the Nile coffin ensemble is the most complete burial One of the most outstanding pieces that were equipment from ancient Egypt in a Swiss studied in detail for the first time in the course museum. Furthermore the site where it was of the “Swiss Coffin Project” is the coffin of Nes-Shu in the museum of Yverdon, a town located in the French-speaking part of the country (fig. 1). Together with its mummy it came to Yverdon in 1896 as a present to the town museum given by Edwin Simond (fig. 3). Simond was born in Australia in 1856. A few years later his parents moved to Egypt and he grew up in Alexandria. The Simond’s family originally came from Yverdon where Edwin completed his studies. In 1879 he was back on the Nile working for the “Land Mortgage

Company of Egypt”. As an pmimage.ch Photo: Agronomist , he travelled all over Fig 4: The sky goddess Nut, outlined very carefully in black Egypt and soon developed a passion and then painted in bright colours, figures prominently on for archaeology. He even took part in the coffin lid. The text above her wings mentions the names several excavations and left most of and titles of Nes-Shu and his parents.

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Surrounded by divine beings The anthropoid coffin is made of wood which was stuccoed and painted in bright colours on yellow and red ground. The face on the lid is gilded and the head adorned with a voluminous wig. The figures and symbols were outlined very carefully in black paint, probably with a fine rush pen, whereas the inscriptions seem to have been applied more casually. The rich decoration of the coffin surface shows the typical iconography seen on many Akhmim coffins of the Ptolemaic period. A prominent figure on the lid is the sky goddess Nut spreading her wings over the deceased’s body and thus protecting him (fig. 4). The lower part of the lid is occupied by a central inscription arranged in vertical columns. The text is known as “spell of Nut” in which the goddess symbolically becomes the divine mother of the deceased and is asked to lay down upon him keeping away all evil spirits. This spell had already appeared in Photo: pmimage.ch Photo: the Texts and marks a revival of older traditions. Surrounding the inscription is a multitude of guardian deities arranged in rows Fig. 5: The mummy mask of Nes-Shu is made and holding knives. Together with the long of Cartonnage consisting of pressed layers serpent depicted on the coffin case, they form a of linen glued together, coated with gesso characteristic iconographic feature on the coffins and painted. A winged scarab holding the from Akhmim. sun is depicted above the head symbolizing In Ptolemaic times it became common to cover the eternal cycle of life. the mummy with a mask and decorated plaques found and the year of the discovery are known of cartonnage which were placed over the without any doubt. They are attested by a wrappings for additional protection. Except for document now in the museum’s archive of the leg covering and the foot case, all Cartonnage Yverdon which was written by , elements from Nes-Shu’s burial equipment are director of Antiquities and Bulaq museum. preserved. Among them, the mask with its gilded According to it, coffin and mummy were found face and rich colours is a particularly beautiful in the necropolis of Akhmim in 1885 during item (fig. 5). excavations carried out under the direction of Magical protection for the mummy Maspero himself. Name and titles of the coffin owner are mentioned several times on the lid The body of Nes-Shou is covered from the (fig. 4). It is a man named Nes-Shu (”belonging chest to the feet with a funerary papyrus that to Shu”, the god of the air) who was working as was wrapped in the bandages (fig. 6). a sema-priest responsible for clothing Min, the Unfortunately, during the unwrapping of the god of fertiliy. The names and titles of his parents mummy in 1896 a big part of the papyrus was are also known: His father Nes-Min (”belonging torn off. The pieces were later reassembled and to Min”) was a sema-priest as well. Nes-Shu’s put under glass plates. Today only the lowest mother -weret (”Isis, the great one”) is called layers remain in their original position on the “mistress of the house” and “musician of the body of Nes-Shu. But as can be seen on the broken god Min”. edges, the papyrus originally consisted of thirteen layers covered with texts written in script and vignettes from the .

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C M Y CM MY CY CMY K during an earlier examination. The two human-bodied deities and the heart amulet an earlier faience; examination.during are made of blue-glazed falcon heart The two the human-bodied deities and the Fourteen bandages amulets had been placed inside the of Nes-Shu for magical protection. Four were removed of them is made of gilded wood.

Photo: pmimage.ch

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In addition to the funerary papyrus, fourteen small amulets had been placed inside the linen bandages of Nes-Shu (Fig. 7). Four of them were removed during an earlier examination of the body and ten still remain inside the wrappings. Among them is a finely executed scarab, a figure if the goddess Isis and a sistrum, a musical rattling instrument decorated with the head of the goddess . All the elements of Nes-Shu’s burial equipment served but one main purpose: Covered with magical spells and images, they created a miniature cosmos in which the deceased, surrounded by protective deities, could safely pass on to the hereafter being reborn to eternal life. Eternal life far from home The examination of Nes-Shu’s mummy by Thomas Böni and Frank J. Rühli from the “Swiss Mummy Project” gives us some interesting informations about the physical condition of the Ptolemaic priest. Nes-Shu died around the age of fifty years which, in terms of personal age, makes him the oldest ancient Egyptian in Switzerland so far. The majority of the bodies examined in the course of the “Swiss Coffin Project” had died between twenty and forty years old. Even if it hasn’t been possible to determine the immediate cause of death, we know that Nes- Shu suffered from severe pain in his right shoulder due to osteoarthritis. Further, arteriosclerosis was diagnosed in both legs and we can assume that in the last years of his life Nes-Shu had difficulties walking around. Undoubtedly, the Egyptian coffins and mummies in Swiss museums represent a wonderful opportunity not only for the scientists but also for the visitors. Besides being among the most attractive of Egyptian antiquities, they allow us to have a fascinating insights into the beliefs about the afterlife of one of the greatest Photo: pmimage.ch Photo: civilisations ever known.

Fig. 6: Almost the whole body of Nes-Shu is covered with a funerary papyrus. It had been Alexandra Küffer, Egyptologist and co-director folded several times and placed inside the of the Museum of Ethnography of Burgdorf, bandages. Originally, it must have been more Switzerland. than ten metres long.

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The Restoration Graffiti in the Tomb of Tuthmosis IV, KV43. Stephen W. Cross

The 18th Dynasty tomb of Tuthmosis IV, of the noble Iawy, born of the lady of the House KV43, was discovered by on of Weret, be charged with to renew the burial the 18th January 1903. 1 In antechamber I on of King Menkheprure (Thothmosis IV), true the south west wall was scripted an ancient of voice, in the noble mansion upon the west graffiti recording the restoration of the king’s of Thebes.’ burial during regnal year 8 of king . A translation of the second graffito 2 Fig 1. I am grateful to Dr. Rob Demaree of follows (The reader is referred to the notes for the University of Leiden for use of his a transliteration): photograph. The graffiti is now protected behind a clear plastic panel and is ‘His assistant, the steward of the consequently more difficult to photograph. southern city, Djehutymose, son of Hatiay, Fig. 2. I am grateful to Dr. Ali Ebrahim Whose mother is Iniuhe of the city (Thebes).’ Elasphol, SCA Director of the West Bank, For So, in the 8th year of his reign, permission to take this photograph. Horemheb commanded to renew, or The main graffito consists of four lines and restore, the burial of Tuthmosis IV after it had is written in an elegant and bold hand. A presumably been robbed, perhaps during the secondary graffito consisting of three lines is upheaval at the end of the period. written above and to the right of the main The lawlessness at the end of the Amarna graffito. 3 A translation in English of the main period was a time when tomb robbery was th 5 graffito is:- 4 rife, not in 8 year of Horemheb’s stricter rule. ‘Year 8, 3rd month of the Akhet season, day At the time of this restoration the 1, under the majesty of the King of Upper and doorways were re-plastered and new seal 6 Lower Egypt, Djeserkheprure-Setepenre, Son impressions added, the Necropolis Seal of of Re, Horemheb-Mereyamun. His majesty life! over nine bound captives and prosperity! health! commanded that the fan Horemheb’s . Interestingly, the seal bearer on the king’s right hand, the king’s matrices were first dipped into blue paint and scribe, overseer of the Treasury, overseer of wiped to that the background once applied the works in the Place of Eternity and leader was coloured and to this day the blue paint of the festival of in , Maya, son can still be seen even though the seals have deteriorated somewhat. 7 Let us look more

1. Davis T.M. The Tomb of Thoutmosis IV, London, 1904. 2. Blackman A.M. ‘Oracles in Ancient Egypt’ JEA 12 (1926) p 176-185, pls. XXXIV-XLII: Davis B.G. Egyptian Historical Records of the Later Eighteenth Dynasty, Fasicicle VI, Translated from Helck W. Urkunden der 18. Dynastie, Heft 22. Warminster, 1995, p. 87: Davis The Tomb of Thoutmosis IV, p. XXXIII, XXXIV: PM 1:2 (2nd ed.) p. 560. 3. Reeves C.N. and Wilkinson R.H. ‘The Complete of the Kings’ London, 1996, p. 108 is in error stating the second graffifo is lower than the main one. 4. Davis Egyptian Historical Records, p. 87. 5. For the increased security in the Valley from year 7 of Horemheb see Valbelle D. Les Ouvriers de la Tombe, Cairo, 1985, p. 161-162. 6. Kaper O.E ‘The Necropolis Seal’ in ‘Stone Vessels, Pottery and Sealings from the Tomb of ’ ed. J.Baines GI Oxford 1993, p165-175. 7. Romer J. ‘’ London 1981, p 190-191: Davis The Tomb of Thoutmosis IV, p. XXX: Author’s observation on March 2008.

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closely at the Maya/Djehutymose graffiti in were delineating one’s parentage then you chamber ‘I’ of Tuthmosis IV’s tomb. Fig. 1. The would know the name of your own parents. Djehutymose graffito is on the right of and Maya’s mother’s name, or perhaps his higher than the Maya graffito. What can we stepmother, was Henetiunu as stated in his infer from this? That Djehutymose was taller tomb.8 Could these two names be than Maya? To date, the fact that Maya is different names for the same person? No, also named in the larger graffito has led to the from Maya’s Saqqara tomb we know that Weret assumption that Maya wrote it and was was in fact one of Maya’s wives, probably his therefore in charge of the restoration. second wife due to the prominence of his first wife Meryt and their unfinished dyad statue.9 The grammar of the Maya graffito is Weret is also a generic term for the Lady of curious. ‘The King commanded Maya to renew the House. Wrongly naming Maya’s mother is the burial’ Why the second person? If Maya highly suspicious and the suspicion can be had written this then surely he would write explained away only if Maya did not write the in the first person, ‘The King commanded me, graffito himself. If, in fact, it was written by Maya, to renew the burial’? Egyptian grammar someone else who did not know the name of is quite capable of such nuances. Maya’s father Maya’s mother, but did know the name of is named as the noble Iawy but his mother is another woman associated with Maya, his wife, called the Lady of the House, Weret. If one

8. Martin G.T The Hidden Tombs of Memphis, London, 1991, p. 164+172. 9. Martin Hidden Tombs, p. 31+32, 152, 159, 160, 172, 180, 183, Fig. 105, p. 163 and Fig. 106, p.165.

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it was pointed out it was a 3,000 year old crime and would not be going to court! If Djehutymose scripted both these graffiti then there must be grave doubts as to whether Maya was in the tomb else Djehutymose could have simply asked him his mother’s name. If Maya was not actually in the tomb then there must also be grave doubt as to whether he was in the Valley of the Kings at all during this restoration. Maya was after all one of the elite, the third most powerful man in Egypt after the crown and the vizier, Treasurer to Egypt and Overseer to the Royal or the generic housewife, and substituted that Necropolis, but since when does an overseer instead. So who wrote it? Djehutymose of get his hands dirty? Can we really imagine a course. And we know from KV62 that man of this power and prestige scrambling Djehutymose was the graffitologist.10 During into a tomb? Undoubtedly Horemheb ordered the re-sealing after the robbery of KV62 he left Maya to make the renewal, but Maya passed his name as a graffito on the underside of a this task on to his assistant Djehutymose (who jar stand lying in the Antechamber of KV62. we now know was Chief of the Estate of Thebes If we look closely at the two graffiti, the size by this time and the man more likely to and spacing of the glyphs is the same. The size actually do the work) saying ‘Make it so’. and spacing of the lines is the same. Glyphs Djehutymose inscribed the Maya graffito that have a diagonal element all have exactly signifying his authority, from the crown via the same angle, 30 degrees declination from Maya, to enter the tomb and make the renewal. the horizontal. A total of 8 different glyphs He then appends his own graffito to ensure from both graffiti are identical, imy-r, overseer; his name lived forever and if at a slightly per, mansion; ms, born of; f, y, i, a, and the superior level than his master’s then why not? determinative for a man (Gardiner A1). In No one was going to see these graffiti after the particular, it is the hieratic glyph for ‘overseer’, tomb was re-sealed for all eternity. If Maya imy-r (Gardiner F20) that is identical in both delegated the restoration of a king’s tomb after graffiti. This is a highly cursive glyph and it is robbery to a subordinate then this indicates very unlikely they would be identical if written he may also have delegated the restoration of by differing hands. This is a case where a multi- another king’s tomb after a robbery, discipline investigation needs to be carried Tutankhamen’s. out and an expert calligraphist involved. The present writer submitted copies of Fig. 1 to a firm of handwriting experts in the UK who Stephen Cross assess evidence for the Police, but even though A member of the Egypt Exploration Society, they agreed that the handwriting was identical the Geologist’s Association and the Liverpool they would not commit themselves, even when Geological Society.

10. Cerny J. ‘Hieratic Inscriptions from the Tomb of Tutankhamen’ Oxford, p 7, pl VII, no. 45. Object C620-122 (also C620-116): Hall R.M. ‘The Steward of Thebes, Dhutymose, ‘'Assistant’’' of Maya’’ The Egyptian Bulletin No. 16 (March 1986) p 4-7:

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Pharaoh Faseekh Dylan Bickerstaffe In the course of my research I have developed Mariette, Director of the Service des Antiquities, an interest in the mythology that has grown up in Paris. He, however, was reluctant to accept around the royal mummies. You have perhaps that royal could bear inscriptions – heard me relate some of the tales, and the truth holding on to the belief that the Pepi named in behind them: of the mummy that fell into the inscriptions was simply a private individual. putrefaction and then recovered; of the mummy At this point Mariette was very ill, and by the that was dumped in the Nile; of the mummy time that he returned to Cairo his days were that raised its arm and pointed at museum staff; numbered; so he asked his friend, the great and more recently, the supposed mummy of scholar, Heinrich Brugsch, to investigate the that had somehow managed to arrive pyramids in the hope of settling the issue.2 in the Niagara Falls Museum by 1861. With his brother, Emile (the Museum Here I would briefly like to share the true tale conservator), Heinrich made his way to Saqqara that lies behind another of the mummy myths. and there succeeded in entering the precarious In July 1881 Emile Brugsch rapidly cleared a interior of each pyramid and read the names of tomb on the west bank at which turned kings in inscriptions on the walls. In the out to be a cache comprising members of a westernmost pyramid Heinrich recognised the Twenty-First dynasty Theban ‘priestly’ royal name of Nemtyemsaf (Merenre) as Methesuphis, family, and the mummies of many famous kings from Manetho’s Lists of Kings; and it seemed and queens of the earlier, glorious New Kingdom that the mummy lying on the floor of the era. The mummies were quickly removed from the tomb, loaded on to the Museum steamer, and taken off to the Museum at Bulaq, the port of Cairo. It is often said that when the royal mummies arrived at Bulaq, the customs official there was unable to find a suitable classification for the unusual cargo and eventually passed the illustrious dead as ‘farseekh’ or dried fish.1 Whilst this is not true, the error is explicable since the true story does indeed relate to a royal mummy, to the name of Brugsch, and to the year of 1881. In May 1880 two Arabs sheikhs began the work of opening three badly ruined pyramids in the necropolis at Saqqara and found the walls of the interior chambers to be covered with hieroglyphs. Squeezes taken from the walls of the first pyramid opened were sent to Auguste

1. Related for instance, by J. Romer, Valley of the Kings, (London and New York 1981), 141; and D. Forbes, ‘Cache DB320’, KMT A Modern Journal of Ancient Egypt, 3.4, (Winter 1992-3), 29. 2. The following account is taken from: Heinrich Brugsch, My Life and My Travels, (Berlin 1894), Chapter 7. English version, (1992), edited by George Laughead Jr. and Sarah Panarity, available at: www.vlib.us/brugsch/chapter7.html. For a summary, see: S. Ikram & A. Dodson, The Mummy in Ancient Egypt Equipping the Dead for Eternity (London 1998), 81-2.

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chamber beside the Dakrur and all passengers had to alight and make stone sarcophagus the half hour walk into Cairo as far as the carriage must surely be the stand. There was nothing else for it but to carry king himself. The the king between them: mummy was well ‘We brothers grasped the wooden coffin preserved but had at its two ends, to carry it as far as the been badly station. The sun went down, the plundered by tomb perspiration ran from our foreheads, the robbers: dead Pharaoh seemed to become heavier ‘The very fine from minute to minute. In order to lighten byssus bindings, the load, we left the coffin behind and held with which it had His dead Majesty at the head end and at once been wrapped, the Arabian treasure- the feet. Then the Pharaoh broke through seekers had torn off the body, so that the in the middle and each of us took his half shreds of the almost transparent and under his arm.’ cobweb-like linen material lay strewn about ‘After half an hour walking, we two everywhere.’3 Berliners with the halved Pharaoh climbed It was now necessary to return and inform into a droshky. A new obstacle met us at the ailing Mariette that his invariable rule was the customs building directly in front of broken: the pyramids were royal, but not mute. the great iron bridge of Kasr enj-Nil. Heinrich thought that he might, however, soften "Nothing taxable in the carriage?" asked the blow: the customs officer in the language. "No, nothing at all, nafisch!" "But what is ‘Perhaps, I said to myself, it will afford this here?" Di-e-di, and with these words the dying friend a last pleasure, to be able he pointed to the two halves of the royal to see with his own eyes the mummy of corpse. "Salted meat," I answered, and one of the oldest kings of Egypt and indeed secretly pressed a coin into his hand. "Jallah, of the world.’4 go on!" called the officer to the coachman, A convenient coffin was found from and our carriage with the three of us rolled excavations progressing nearby, the king was across the bridge.’6 placed in front of Emile on his donkey, and they The story entertained Mariette, though he rode back to the railway station at Bedrasheyn; found the two-part pharaoh somewhat repulsive. arriving with just minutes to spare before the He took his intellectual defeat with good grace, departure of the Cairo train. Playing on the however: surprise of the railway officials, the brothers said that their dead companion was the Sheikh el "And so there really are inscribed kings' Beled (village magistrate) of Saqqara.5 Since the pyramids!" he exclaimed with a hoarse voice, king could not travel first class, the three of them "I had never been willing to believe it."7 boarded the baggage car. Curiously, a similar tale was later told by E. Owing to some problem with the rails the A. Wallis Budge who, in December 1887, whilst train could not proceed as far as the terminus at working at , received a letter from

3. H. Brugsch, My Life and My Travels, Chapter 7. 4. H. Brugsch, My Life and My Travels, Chapter 7. 5. The famous wooden statue named by workers the Sheikh el Beled had been found at Saqqara in 1860. 6. H. Brugsch, My Life and My Travels, Chapter 7. 7. H. Brugsch, My Life and My Travels, Chapter 7.

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Professor Alexander Macalister of Cambridge each making off with a skull held by the who was hoping to be able to determine the bandages. racial type of the ancient Egyptians through ‘What nourishment they could obtain study of their skulls. He asked if it might be out of mummified human heads I could possible to obtain a collection for examination never understand, but so long as there were and measurement. skulls loose in the hut I saw jackals ‘Fortunately for him we had just opened prowling under the river bank in the a large deep pit containing the mummies of evening, watching their opportunity to priests of the third and fourth orders, who steal my skulls.’9 ministered in the temple which stood on the Budge later had difficulty passing the boxes island of during the Saïte and of skulls through the Custom House in Ptolemaïc periods. These mummies were not Alexandria, owing to having truthfully declared well made and the bandages were scanty ... their contents on the declaration form, and there most of the heads were either very loose or being a ban on the export of mummies and actually separated from the bodies. We human remains. The official did not believe that collected about eight hundred heads, and anyone would want the heads of mummies for then closed up the pit.’8 scientific purposes: These heads were then brought across the ‘After further conversation he tore up river and stacked temporarily at the end of my declaration, and gave me another form, Budge’s hut, until packing cases could be and told me to describe the “heads of constructed for them. The pile seemed mummies” as “bone manure.” This I did, unaccountably to diminish which seemed and paid export duty of one per cent. on unlikely to be the result of theft. Budge them as manure, and they went out of discovered the answer when woken by the sound Egypt without further difficulty. On this of skulls rolling down the pile and saw two jackals occasion, and also on many other occasions in the East when dealing with Customs’ officials, I discovered that, after all, there is a good deal in a name.’10

The above article is an extract from the chapter ‘Brugsch and the Cache Discovery’ in Finding the (Part 1 of Refugees for Eternity: The Royal Mummies of Thebes) due out early 2009. Part 4 of Refugees – Identifying the Royal Mummies is due out Autumn 2008.

8. Sir E. A. Wallis Budge, By Nile and Tigris. A Narrative of Journeys in Egypt and Mesopotamia on Behalf of the British Museum Between the Years 1886 and 1913. (London 1920) Vol. I, 94-5. 9. Budge, By Nile and Tigris, I, 95. 10. Budge, By Nile and Tigris, I, 95.

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±MEd ´U ∞∂OX «∞∫d«¸… °∫LU ´eË“ °Lb¥MW ¸®Ob, Ë¥ENd °t «∞IU´W «∞L∏LMW Ë°ußDNU ≤U≠u¸… Ë°ußDNU «∞L∏LMW «∞IU´W °t Ë¥ENd ¸®Ob, °Lb¥MW ´eË“ °∫LU «∞∫d«¸… ∞∂OX ´U ±MEd «∞LU¡ «∞ºUîs Ë•u∞ ±ºD∂W «∞∑JOOf, Ë¥ªdà ±MNU √•b «_Ë«Ë¥s Ë√°u«» «∞ªöËÍ Ë«∞LGDf «∞ªöËÍ Ë√°u«» «_Ë«Ë¥s √•b ±MNU Ë¥ªdà «∞∑JOOf, ±ºD∂W Ë•u∞NU «∞ºUîs «∞LU¡

Æ∂W ±s •LU ´eË“ °Lb¥MW ¸®Ob °Lb¥MW ´eË“ •LU ±s Æ∂W Ë¥ENd °NU «∞LCUËÍ °NU Ë¥ENd

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±∂Mv ±Iºr °U∞Du‰ ≈∞v £ö£W √ƺUÂ, £ö£W ≈∞v °U∞Du‰ ±Iºr ±∂Mv «_´Kv Ë°t √¸°FW œßu‹ √Ë Æb˸ ±s Æb˸ √Ë œßu‹ √¸°FW Ë°t «_´Kv «∞dÅU’ ∞KLU¡, ±∑b¸§W «∞∫d«¸… ±s «∞∫d«¸… ±∑b¸§W ∞KLU¡, «∞dÅU’ «∞∂U¸œ… ≈∞v «_îOd •OY œ¸§W «∞GKOUÊ œ¸§W •OY «_îOd ≈∞v «∞∂U¸œ… Ë¢ªdà ±Mt «∞LOUÁ ≈∞v √§e«¡ °OX «∞∫d«¸…, °OX √§e«¡ ≈∞v «∞LOUÁ ±Mt Ë¢ªdà ˫_Ëßj Ë¥ºLv °U∞πu¸… Ë¢u{l °t Ë¢u{l °U∞πu¸… Ë¥ºLv Ë«_Ëßj «∞ILU±W Ë¢uÆb ∞∑ºªOs «∞LOUÁ ≠w «_´Kv, ≠w «∞LOUÁ ∞∑ºªOs Ë¢uÆb «∞ILU±W Ë°ußj √¸{OW «∞πu¸… ≠∑∫W ¢ºb ©OKW ¢ºb ≠∑∫W «∞πu¸… √¸{OW Ë°ußj ≠∑d… «ô¥IUœ •∑v ¢ºªs «∞LOUÁ, ¢r ¢H∑` ¢r «∞LOUÁ, ¢ºªs •∑v «ô¥IUœ ≠∑d… ∞OMe‰ «∞d±Uœ «∞ºUîs ≈∞v «∞πe¡ «_ßHq «∞πe¡ ≈∞v «∞ºUîs «∞d±Uœ ∞OMe‰ •OY ¸ÅX Æb˸ «∞Hu‰ «∞Lb±f ∞∑ºu¥∑t, «∞Lb±f «∞Hu‰ Æb˸ ¸ÅX •OY ËØUÊ ¥Rîc «∞d±Uœ °Fb «≤DHUzt Ë¥º∑FLq «≤DHUzt °Fb «∞d±Uœ ¥Rîc ËØUÊ ≠w «∞∂MU¡ Æ∂q «Ø∑AU· «_ßLMX. «Ø∑AU· Æ∂q «∞∂MU¡ ≠w

ËØUÊ ¥K∫o °U∞∫LU ≠w «∞GU∞V °μd «∞GU∞V ≠w °U∞∫LU ¥K∫o ËØUÊ ù±b«œÁ °U∞LOUÁ, ËÆb ¢∂Iv ∞MU •∑v «üÊ •∑v ∞MU ¢∂Iv ËÆb °U∞LOUÁ, ù±b«œÁ ≠w •LU ´eË“ °Lb¥MW ¸®Ob ≤EU ¢πLOl ≤EU ¸®Ob °Lb¥MW ´eË“ •LU ≠w «∞LOUÁ ±s «∞∂μd •∑v œîu∞t ≈∞v «∞bßu‹ ≈∞v œîu∞t •∑v «∞∂μd ±s «∞LOUÁ ∞K∑ºªOs. ¸®Ob °Lb¥MW ´eË“ ∞∫LU √≠Iw ±ºIj

˱s ´πV «∞b≥d √Ê √≥LKX «∞∫LU±U‹ ≠w ±Bd Ë∞r ¢º∑Gq ≠w ¢º∑Gq Ë∞r ±Bd ≠w «∞∫LU±U‹ √≥LKX √Ê «∞b≥d ´πV ˱s °U» «∞LJUÊ ≥c« ≠w Ë≤πb «∞πKb, Ë®Dn «∞e«zb «∞AFd ∞MeŸ ¥º∑ªb ØUÊ «°d«“ ≤Er «∞∫CU¸… «ùßö±OW ØLU ≤dÈ –∞p ≠w °öœ ≈ßö±OW √îdÈ ≈ßö±OW °öœ ≠w –∞p ≤dÈ ØLU «ùßö±OW «∞∫CU¸… ≤Er «°d«“ £U≤w), •d«¸… (°OX «∞∫d«¸… °OX Ë≥u √ô «∞∫LU ±s «∞∏U∞Y «∞πe¡ ≈∞v ¥RœÍ √•ºs «ß∑Gö‰ ù°d«“ ≤u«•w ù°d«“ «ß∑Gö‰ √•ºs Î ßOU•OU «ß∑GKu≥U Ë«∞c¥s Ëßu¸¥U Ø∑dØOU √Ë«Ë¥s √¸°FW ´KONU ¥∑FU±b «_{öŸ ±∏LMW ÆU´W ±s «∞LF∑Uœ ≠w Ë¥∑JuÊ «∞∫CU¸… «ùßö±OW, Ë√Å∂∫MU «üÊ ≤∂∫Y ´s •LU ≥MU √Ë ≥MU„ ≠w ≥MU„ √Ë ≥MU •LU ´s ≤∂∫Y «üÊ Ë√Å∂∫MU «ùßö±OW, «∞∫CU¸… ≈∞v ¢RœÍ √°u«» ∞KL∏Ls «∞LJLKW «_îdÈ «_¸°FW «_¸ØUÊ Ë±s ±MNU ¥H∑` √¸§U¡ «∞IU≥d… √Ë •∑v ≠w ±Bd ØKNU ≠ö ≤πb ≈ô «∞MUœ¸. ≈ô ≤πb ≠ö ØKNU ±Bd ≠w •∑v √Ë «∞IU≥d… √¸§U¡ «∞∂U¸œ ∞KLU¡ •MHO∑UÊ ∞t •u÷ °NU •πd… ´s ´∂U¸… (îKu«‹) •πd«‹ Ë«∞ºUîs Ë¢º∑ªb ∞Lº∑∫r Ë«•b, ˱GU©f, Ë≥v ´∂U¸… ´s ¨d≠W ´s ´∂U¸… Ë≥v ˱GU©f, Ë«•b, ∞Lº∑∫r Ë¢º∑ªb ˫∞ºUîs ±º∑DOKW ≠w «∞LF∑Uœ °NU •u÷ ∞KLOUÁ •u÷ °NU «∞LF∑Uœ ≠w ±º∑DOKW °t ±U¡ ßUîs ¥K∑n •u∞t «∞Lº∑∫LuÊ •u∞t ¥K∑n ßUîs ±U¡ °t ∞O∑A∂Fu« °U∞∂ªU¸ «∞ºUîs £r ¥Me∞uÊ £r «∞ºUîs °U∞∂ªU¸ ∞O∑A∂Fu« ∞K∑JOn ±l ∞K∑JOn Î ¸Ë¥b« Î ¸Ë¥b« «∞∫u÷ ≈∞v «∞LU¡ «∞ºUîs, Ë°ußj «∞L∏Ls Ë°ußj «∞ºUîs, «∞LU¡ «∞dzOºw ≤U≠u¸… ∞KLU¡ «∞ºUîs ´Kv «∞ºUîs ∞KLU¡ ≤U≠u¸… «∞dzOºw ÆU´b… ±∏LMW ±s «∞dîU ¢º∑ªb ≠w ¢º∑ªb «∞dîU ±s ±∏LMW ÆU´b… ´LKOW «∞∑JOOf, √Ë «∞LºUà «∞cÍ «∞LºUà √Ë «∞∑JOOf, ´LKOW ¥º∑ªb ≠Ot ØOf ±s «∞Bu· «∞LGd°w «∞Bu· ±s ØOf ≠Ot ¥º∑ªb ¥d¢b¥t «∞LJOºU¢w ≠w ¥bÁ «∞OLMv. ¥bÁ ≠w «∞LJOºU¢w ¥d¢b¥t

ËßIu· «∞∂OX «_ˉ Ë«∞∏U≤w ØKNU Ë«∞∏U≤w «_ˉ «∞∂OX ËßIu· ´∂U¸… ´s √Æ∂OW ËÆ∂U» ¥∑ªKKNU ËÆ∂U» √Æ∂OW ´s ´∂U¸… ≠∑∫U‹ ±º∑b¥d… Ë´Kv √®JU‰ ≤πu √®JU‰ Ë´Kv ±º∑b¥d… ≠∑∫U‹ Ë√®JU‰ ≥MbßOW √îdÈ, ±GDU… √îdÈ, ≥MbßOW Ë√®JU‰ °Ad«z` «∞e§Uà «∞LKuÊ ´Kv ®Jq ´Kv «∞LKuÊ «∞e§Uà °Ad«z` ¢ºLv ±CUËÍ ∞û{U¡… ±CUËÍ ¢ºLv Î √¥CU Æ∂U» ±l •Hk «∞∫d«¸… Ë¢J∏On «∞∂ªU¸ Ë¢J∏On «∞∫d«¸… •Hk ±l . Ë¥ö•k √Ê Øq √Ê Ë¥ö•k . 1 «∞L∂Mv œ«îq √¸{OU‹ «∞∫LU±U‹ ±Jºu… °U∞dîU ±Jºu… «∞∫LU±U‹ √¸{OU‹ «∞Leîd· °Dd¥IW «∞HºOHºU¡. °Dd¥IW «∞Leîd·

√±U «∞Lº∑uÆb √Ë ±U ≤πb ¢ºLO∑t ≤πb ±U √Ë «∞Lº∑uÆb √±U ≠w Ë£Uzo «∞FBd¥s «∞LLKuØw «∞FBd¥s Ë£Uzo ≠w √¸{OW ¸îU±OW ±s •LU ±b¥MW ßLMuœ °L∫U≠EW «∞Gd°OW °L∫U≠EW ßLMuœ ±b¥MW •LU ±s ¸îU±OW √¸{OW Ë«∞F∏LU≤w °U∞b°Ju≤OW, ≠Nu ´∂U¸… ´s ´∂U¸… ≠Nu °U∞b°Ju≤OW, Ë«∞F∏LU≤w

SMAMMAH SEL :)E(YTUAP SEL SMAMMAH UD ERIAC «∞∫LU±U‹: ¢ªDOj ´s √≤Ed 1-

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«∞∫LU±U‹ «∞FU±W ≠w ±Bd ≠w «∞FU±W «∞∫LU±U‹

œ. ±∫Lb «∞b¥s ≈ßLU´Oq «∞b¥s ±∫Lb œ. √ß∑U– «ü£U¸ «ùßö±OW - §U±FW ´Os ®Lf ´Os §U±FW - «ùßö±OW «ü£U¸ √ß∑U–

£ö£W √§e«¡ ¸zOºOW: ≥v «∞LºKa Ë«∞∂OX «_ˉ Ë°OX «∞∫d«¸… √Ë «∞∂OX √Ë «∞∫d«¸… Ë°OX «_ˉ Ë«∞∂OX «∞LºKa ≥v ¸zOºOW: √§e«¡ £ö£W ´KONr, «∞ºU°IW «∞∫CU¸«‹ ±s «∞FU±W «∞∫LU±U‹ «∞LºKLuÊ ´d· «∞∏U≤w √Ë «∞∫d«¸… ≠Ij, ≠Mπb ∞K∫LU ˫§NW ´Kv «∞AU¸Ÿ «∞dzOºw °NU «∞dzOºw «∞AU¸Ÿ ´Kv Ë«§NW ∞K∫LU ≠Mπb ≠Ij, «∞∫d«¸… √Ë «∞∏U≤w «∞∑w «∞H∑u•U‹ °Fb √ߺu≥U «∞∑w «∞LbÊ ≠w §b¥b… •LU±U‹ ≠∂Mu« °U» ±MJºd ¥RœÍ ≈∞v «∞b«îq, Ë°U» ¥RœÍ ≈∞v «∞LºUØs «∞∑w ¢FKuÁ ≈Ê ¢FKuÁ «∞∑w «∞LºUØs ≈∞v ¥RœÍ Ë°U» «∞b«îq, ≈∞v ¥RœÍ ±MJºd °U» Ë∞JMNU , Î ¨d°U «_©KMDw «∞L∫Oj ≈∞v Î ®dÆU «∞BOs •bËœ ±s «±∑b‹ ˧b‹, ˬîd ¥RœÍ ≈∞v «∞Lº∑uÆb «∞LFb ∞K∑ºªOs Ë°μd «∞LOUÁ Ë¥FKuÁ «∞LOUÁ Ë°μd ∞K∑ºªOs «∞LFb «∞Lº∑uÆb ≈∞v ¥RœÍ ˬîd ˧b‹, «∞LBd¥uÊ ßLv •OY «ùßö±w, «∞FBd °b«¥W ≠w «∞∑IAn ©U°l √îc‹ «∞ºUÆOW ˨Od –∞p ±s «∞LK∫IU‹, Ë¥RœÍ °U» «∞∫LU ≈∞v ±Ld ¥bîq ±Ld ≈∞v «∞∫LU °U» Ë¥RœÍ «∞LK∫IU‹, ±s –∞p ˨Od «∞ºUÆOW «∞∫LU±U‹ ´s •πLt ∞BGd Î ≤Ed« «∞HQ¸ °∫LU «∞HºDU◊ ±b¥MW •LU ±Mt ≈∞v ±ºKa -Ë≥u «∞LJUÊ «∞cÍ ¥MºKa ≠Ot «ù≤ºUÊ ±s ±ö°ºt- ±s «ù≤ºUÊ ≠Ot ¥MºKa «∞cÍ «∞LJUÊ -Ë≥u ±ºKa ≈∞v ±Mt ±Bd. ≠w °MOX «∞∑w «∞∂Oe≤DOW Ë¥∑JuÊ ≥c« «∞LºKa ≠w «∞GU∞V ±s ÆU´W Æb ¢∑ußDNU ≠ºIOW ¢b¸ «∞LOUÁ ¢b¸ ≠ºIOW ¢∑ußDNU Æb ÆU´W ±s «∞GU∞V ≠w «∞LºKa ≥c« Ë¥∑JuÊ «∞∂U¸œ…, ¥∫Oj °NU √¸°FW √Ë«Ë¥s, °NU ≠w Ø∏Od ±s «_•OUÊ •πd«‹ «_•OUÊ ±s Ø∏Od ≠w °NU √Ë«Ë¥s, √¸°FW °NU ¥∫Oj «∞∂U¸œ…, ≤Hf ≠w ¢RœÍ ØU≤X ØLU Å∫OW Ë™OHW ¢RœÍ «∞∫LU±U‹ ØU≤X ôß∑d«•W ±Oºu¸Í «∞MU”, √±U «∞D∂IU‹ «∞b≤OU ≠JU≤X ¢º∑ªb «_Ë«Ë¥s ¢º∑ªb ≠JU≤X «∞b≤OU «∞D∂IU‹ √±U «∞MU”, ±Oºu¸Í ôß∑d«•W «∞B∫W ´Kv ¢Iu ØU≤X •OY ¢d≠ONOW, Ë√îdÈ œ¥MOW Ë™OHW «∞uÆX ∞öß∑d«•W, Ë¥ºIn «∞LºKa ±s «∞ªAV Ë¥∑ußDt ®ªAOªW ∞∑πb¥b ®ªAOªW Ë¥∑ußDt «∞ªAV ±s «∞LºKa Ë¥ºIn ∞öß∑d«•W, «∞HdË÷ ±s Ë≥v «∞DNU¸… ≠w ¢º∑FLq ØU≤X ØLU Ë«∞MEU≠W, «∞FU±W ≥u«¡ «∞LJUÊ, •OY ¥JuÊ ≥c« «∞LJUÊ ≠w œ¸§W •d«¸… ´Uœ¥W ∞Oº∑I∂q ´Uœ¥W •d«¸… œ¸§W ≠w «∞LJUÊ ≥c« ¥JuÊ •OY «∞LJUÊ, ≥u«¡ ≠∑UËÈ ±s «ùßö±w «∞FBd ≠w «∞HIt Ø∑V ±s Ø∑U» ¥ªKu ≠Kr «∞b¥MOW, «∞Lº∑∫r ´Mb Æb˱t ∞ªKl ±ö°ºt Ë¢ºKOr √±U≤U¢t ±s ±ö°f Ë≤Iuœ, ±ö°f ±s √±U≤U¢t Ë¢ºKOr ±ö°ºt ∞ªKl Æb˱t ´Mb «∞Lº∑∫r «∞∫LUÂ. Ë≠u«zb ≠∑UËÈ ¢∫uÈ °FOMNU Ø∑V ∞t îBBX °q «∞∫LUÂ, Ë¥º∑Kr «∞Hu◊ («_“¸) ∞∑GDOW §ºbÁ «£MU¡ «ôß∑∫LUÂ, £r °Fb îdËà °Fb £r «ôß∑∫LUÂ, «£MU¡ §ºbÁ ∞∑GDOW («_“¸) «∞Hu◊ Ë¥º∑Kr ±s «∞d«•W ±s ΠƺDU Ë¥Qîc ±ö°ºt ∞Od¢bÍ «_ˉ «∞∂OX ±s «∞Lº∑∫r «•∑HUô‹ ±d«ßr °Fi °NU ¢∑r ØU≤X ≠Ib «ô§∑LU´OW «∞MU•OW ±s √±U Ë¥ªdà ≈∞v îU¸Ã «∞∫LUÂ. îU¸Ã ≈∞v Ë¥ªdà √≤HºNr, ´s ∞K∑d≠Ot «ôÅbÆU¡ ¢πLl ØU≤X ØLU Ë«∞ª∑UÊ, Ë«∞eË«Ã «∞ªD∂W ßu«¡ ±MNr «∞d§U‰ √Ë «∞MºU¡, Øq ≠w ±JU≤t «∞LªBh ∞t, •OY ØUÊ •OY ∞t, «∞LªBh ±JU≤t ≠w Øq «∞MºU¡, √Ë «∞d§U‰ ±MNr ßu«¡ Ë¥u§b °U∞LºKa °U°UÊ ¥RœÍ √•b≥LU ¥uÅq ≈∞v ±Ld °t œË¸«‹ «∞LOUÁ œË¸«‹ °t ±Ld ≈∞v ¥uÅq √•b≥LU ¥RœÍ °U°UÊ °U∞LºKa Ë¥u§b «∞MNU¸, ≠w ∞KMºU¡ «∞∫LU ¥FLq √Ë §Mf, ∞Jq ±ªBBW •LU±U‹ ≥MU„ Ë«∞∂OX «_ˉ (°OX •d«¸… √ˉ), Ë¥RœÍ «üîd ≈∞v ±º∑uÆb «∞∫LUÂ, Ë¥∑JuÊ «∞∫LUÂ, ±º∑uÆb ≈∞v «üîd Ë¥RœÍ √ˉ), •d«¸… (°OX «_ˉ Ë«∞∂OX «∞B∂UÕ. •∑v «∞LºU¡ ±s Ë∞Kd§U‰ «∞∂OX «_ˉ ±s ≈¥u«Ê Ë«•b ±ªBh ∞öß∑d«•W °Fb «ôß∑∫LU •∑v ô •∑v «ôß∑∫LU °Fb ∞öß∑d«•W ±ªBh Ë«•b ≈¥u«Ê ±s «_ˉ «∞∂OX ¥ªdà «∞Lº∑∫r œ≠FW Ë«•b… ≈∞v «∞Nu«¡ «∞FUœÍ °U∞LºKa, ËÆb ˧b≤U ≠w ˧b≤U ËÆb °U∞LºKa, «∞FUœÍ «∞Nu«¡ ≈∞v Ë«•b… œ≠FW «∞Lº∑∫r ¥ªdà Î, Ë≠Od« Î ±M∑ELU Î ¸°∫U ¢b¸ «∞∑w «∞LMAP‹ ±s Î √¥CU «∞∫LU±U‹ ¢F∑∂d •LU ´eË“ «∞∂UÆw ≈∞v «üÊ °Lb¥MW ¸®Ob √Ê «∞∂OX «_ˉ ¥∑JuÊ ±s ≈¥u«≤Os, ±s ¥∑JuÊ «_ˉ «∞∂OX √Ê ¸®Ob °Lb¥MW «üÊ ≈∞v «∞∂UÆw ´eË“ •LU Π√≥KOU Î ËÆHU ËËÆHNU ≈≤AUzNU ´Kv «∞∏dË«‹ √Å∫U» •d’ ≠Ib £r ˱s °Q•b≥LU ∞u•W ¸îU±OW ´Kv «_¸÷ °πu«¸≥U •u÷ ±OUÁ ¥∑C` ±Mt √≤t ±Mt ¥∑C` ±OUÁ •u÷ °πu«¸≥U «_¸÷ ´Kv ¸îU±OW ∞u•W °Q•b≥LU «∞LºU§b ´Kv «∞Bd· ±∏q Ë«∞∑IuÈ, «∞∂d √¨d«÷ ´Kv Î îOd¥U √Ë Ë«∞Lb«¸” ËîU≤IUË«‹ «∞Bu≠OW, Ë´Kv «∞Lº∑AHOU‹ Ë´Kv «∞Bu≠OW, ËîU≤IUË«‹ Ë«∞Lb«¸” Ë«_ß∂KW ËØ∑U¢OV ¢FKOr «_¥∑UÂ, ≠Mπb «_ËÆU· «∞J∂Od… «_ËÆU· ≠Mπb «_¥∑UÂ, ¢FKOr ËØ∑U¢OV Ë«_ß∂KW ∞Kºö©Os Ë«_±d«¡ °ö «ß∑∏MU¡ ô ¢ªKu ±s •LU ±s ¢ªKu ô «ß∑∏MU¡ °ö Ë«_±d«¡ ∞Kºö©Os ´Kv «_Æq ∞KBd· ´Kv ±MAP¢Nr «∞b¥MOW ±MAP¢Nr ´Kv ∞KBd· «_Æq ´Kv Ë«ô§∑LU´OW, ±LU √´DU≤U ¢Bu¸ ØU±q ´s ±Ju≤U¢NU ´s ØU±q ¢Bu¸ √´DU≤U ±LU Ë«ô§∑LU´OW, Ë´MUÅd≥U ËË™UzHNU, ˱ºU≥L∑NU ≠w «∞∫OU… ≠w ˱ºU≥L∑NU ËË™UzHNU, Ë´MUÅd≥U «ôÆ∑BUœ¥W.

≠w «∞LbÊ ´Kv «∞Dd‚ ´Kv «∞LbÊ ≠w Î ´Lu±U «∞∫LU±U‹ °MOX «∞dzOºOW Ë≠w «∞∑πLFU‹ «∞ºJU≤OW «∞J∏OHW, ≠Mπb≥U «∞J∏OHW, «∞ºJU≤OW «∞∑πLFU‹ Ë≠w «∞dzOºOW ≠w ±b¥MW «∞IU≥d… ±u“´W ´Kv «∞IB∂W «∞dzOºOW «∞IB∂W ´Kv ±u“´W «∞IU≥d… ±b¥MW ≠w Î ±∏ö Ë•∑v §U±l Ë•∑v Î ®LUô «∞H∑uÕ °U» ±s «±∑b‹ «∞∑w ∞KLb¥MW «∞ºOb… ≤HOºW ≠w «∞πMu», ±A∑LKW ´Kv ®U¸Ÿ «∞LFe ®U¸Ÿ ´Kv ±A∑LKW «∞πMu», ≠w ≤HOºW «∞ºOb… «∞∫U∞w Ë®u«¸Ÿ «∞ªOU±OW Ë«∞LGd°KOs Ë«∞ºd˧OW Ë«∞LGd°KOs «∞ªOU±OW Ë®u«¸Ÿ «∞∫U∞w Ë«∞ºOu≠OW Ë«∞ªKOHW, ØLU «±∑b‹ °AU¸Ÿ «∞b¸» «_•Ld «∞b¸» °AU¸Ÿ «±∑b‹ ØLU Ë«∞ªKOHW, Ë«∞ºOu≠OW Ëßu‚ «∞ºöÕ Ë«∞∑∂U≤W §NW «∞IKFW, Ë®U¸Ÿ «∞BKO∂W, Ë®U¸Ÿ «∞IKFW, §NW Ë«∞∑∂U≤W «∞ºöÕ Ëßu‚ Ë≠w «∞Gd» °AU¸Ÿ √±Od «∞πOu‘ ˱MDIW °U» «∞AFd¥W °U» ˱MDIW «∞πOu‘ √±Od °AU¸Ÿ «∞Gd» Ë≠w Ë°U» «∞∂∫d Ë´U°b¥s Ë«∞ºOb… “¥MV, ØLU «≤∑Ad‹ ØLU “¥MV, Ë«∞ºOb… Ë´U°b¥s «∞∂∫d Ë°U» «∞∫LU±U‹ ≠w ±MDIW °uô‚ «∞∑w ØU≤X ±OMU¡ «∞IU≥d… ±OMU¡ ØU≤X «∞∑w °uô‚ ±MDIW ≠w «∞∫LU±U‹ «∞dzOºw ±Mc «∞IdÊ 8≥/41 ˕∑v «∞IdÊ 91Â, •OY 91Â, «∞IdÊ Ë•∑v 8≥/41 «∞IdÊ ±Mc «∞dzOºw «∞∑πLFU‹ «∞ºJMOW Ë«∞∑πU¸¥W, •OY ØUÊ ¥d¢Uœ≥U «∞ºJUÊ ¥d¢Uœ≥U ØUÊ •OY Ë«∞∑πU¸¥W, «∞ºJMOW «∞∑πLFU‹ «∞L∫KOOs Ë«∞u«≠b¥s. «∞L∫KOOs

±ºIj √≠Iw ∞∫LU ßMUÊ °U®U °∂uô‚ °U®U ßMUÊ ∞∫LU √≠Iw ±ºIj ±s «_•u«‰ ±FEr ≠w Î ±FLU¸¥U «∞∫LU±U‹ ¢∑JuÊ

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The Heritage of Egypt

«∞Fbœ «∞∏U∞Y - ß∂∑L∂d 8002 ß∂∑L∂d - «∞∏U∞Y «∞Fbœ ≠v ≥c« «∞Fbœ : «∞Fbœ ≥c« ≠v ±Bd Ë¢d«À ˬ£U¸ ¢U¸¥a

¸zOf «∞∑∫d¥d ¸zOf «∞∫LU±U‹ «∞FU±W ≠w ±Bd ≠w «∞FU±W «∞∫LU±U‹ ¸≠U´v √±πb 3 ≈ßLU´Oq «∞b¥s ±∫Lb œ. [email protected]

«∞MU®d «∞∫CU¸… ∞KMAd «∞∫CU¸… [email protected] www.alhadara.com Fax: (20 2) 3760 58 98

«∞∫CU¸… ∞KMAd «∞∫CU¸… © •Iu‚ «∞MAd Ë«∞D∂U´W ±∫Hu™W ∞K∫CU¸… ∞KMAd. ∞K∫CU¸… ±∫Hu™W Ë«∞D∂U´W «∞MAd •Iu‚ > ¥∫Ed ≈´Uœ… «∞MAd √Ë «∞Mºa √Ë «ôÆ∑∂U” °QÈ Åu¸… °QÈ «ôÆ∑∂U” √Ë «∞Mºa √Ë «∞MAd ≈´Uœ… ¥∫Ed > ≈ô °S–Ê Ø∑U°v ±s «∞MU®d. ±s Ø∑U°v °S–Ê ≈ô «ü¸«¡ «∞u«¸œ… ≠v ≥cÁ «∞LD∂u´W ô ¢F∂d °U∞Cd˸… ´s °U∞Cd˸… ¢F∂d ô «∞LD∂u´W ≥cÁ ≠v «∞u«¸œ… «ü¸«¡ > ¢u§t «∞MU®d √Ë ¸zOf «∞∑∫d¥d °q ¢F∂d ´s ¢u§t ˸√È ¢u§t ´s ¢F∂d °q «∞∑∫d¥d ¸zOf √Ë «∞MU®d ¢u§t ØU¢∂ONU.

8002/36081 «∞J∑V °b«¸ «ù¥b«Ÿ ¸Ær

«_∞u«Ê ≠w ±Bd «∞Ib¥LW Ëœô∞∑NU «∞∑U¸¥ªOW Ëœô∞∑NU «∞Ib¥LW ±Bd ≠w «_∞u«Ê √.œ. {∫v ±∫Luœ ±BDHv ±∫Luœ {∫v √.œ.

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The Heritage of Egypt «∞Fbœ «∞∏U∞Y «∞Fbœ ≤u≠L∂d 8002 ≤u≠L∂d

ØKLW ¸zOf «∞∑∫d¥d ¸zOf ØKLW

92 ≤u≠L∂d 9481 ≤u≠L∂d 92

√´e«zv ... √´e«zv "ô ¢u§b ØKLU‹ Øw ¢F∂d ´s §LU‰ «∞IU≥d…, √Ë ´Kv √Ë «∞IU≥d…, §LU‰ ´s ¢F∂d Øw ØKLU‹ ¢u§b "ô «_Æq ¢FDOJr ≠Jd… ´s ≥cÁ «∞Lb¥MW ≠UzIW «∞dË´W. ≠UzIW «∞Lb¥MW ≥cÁ ´s ≠Jd… ¢FDOJr «_Æq ØMX œ«zLU √™s √Ê «∞IU≥d… ≠Ij ±JUÊ ∞K∑ºu‚ ≠w ∞K∑ºu‚ ±JUÊ ≠Ij «∞IU≥d… √Ê √™s œ«zLU ØMX «∞Dd¥o ˱s £r «∞LGUœ¸… ≈∞v «∞NMb. «∞IU≥d… °ö ±MU“Ÿ °ö «∞IU≥d… «∞NMb. ≈∞v «∞LGUœ¸… £r ˱s «∞Dd¥o “≥d… «∞LbÊ, •b¥IW «∞B∫d«¡, §u≥d… «∞FLU¸… §u≥d… «∞B∫d«¡, •b¥IW «∞LbÊ, “≥d… "«∞LGd°OW", ´dË” «∞Lb«zs ´s •o. √≤NU ¢cØd≤w √≤NU •o. ´s «∞Lb«zs ´dË” "«∞LGd°OW", °U∞Mπr «∞ö±l "«∞AFdÍ «∞OLU≤w", Ëô «ß∑DOl «∞Iu‰ «ß∑DOl Ëô «∞OLU≤w", "«∞AFdÍ «∞ö±l °U∞Mπr ∞LU–«! °ªö· ≈Ê «∞Mπr «∞LCw¡ ≥u «_Ø∏d °d¥IU ≠w °d¥IU «_Ø∏d ≥u «∞LCw¡ «∞Mπr ≈Ê °ªö· ∞LU–«! «∞ºLU¡ Ë«∞IU≥d… ∞NU ≤Hf «∞∑u≥Z ´Kv «_¸÷. ˱LU «_¸÷. ´Kv «∞∑u≥Z ≤Hf ∞NU Ë«∞IU≥d… «∞ºLU¡ ô ®p ≠Ot «≤t ØKLU ≠Jd‹ ≠w «∞Mπr «∞LCw¡ ≠w «∞LCw¡ «∞Mπr ≠w ≠Jd‹ ØKLU «≤t ≠Ot ®p ô «∞Lº∑I∂q ¢cØd‹ «∞IU≥d…. ¢cØd‹ «∞Lº∑I∂q ¥U ∞KdË´W .... ØOn ∞w √Ê «Ån ≥cÁ «∞Au«¸Ÿ ≥cÁ «Ån √Ê ∞w ØOn .... ∞KdË´W ¥U "«∞LGd°OW" °U∞ªDu◊ «∞∫Ld«¡ Ë«∞∂OCU¡, «∞LAd°OU‹ Ë«∞∂OCU¡, «∞∫Ld«¡ °U∞ªDu◊ "«∞LGd°OW" «∞d«zFW «∞∑w ¢e¥s «∞LMU“‰ Ë«∞∑w ¢ºL` ∞KºOb«‹ °U∞MEd ∞KºOb«‹ ¢ºL` Ë«∞∑w «∞LMU“‰ ¢e¥s «∞∑w «∞d«zFW ±s îö∞NU, «∞Fbœ «∞cÍ ô ¥∫Bv ±s «∞LºU§b ±s ¥∫Bv ô «∞cÍ «∞Fbœ îö∞NU, ±s Ë«∞LP–Ê, «∞Nu«¡ «∞cÍ ô ¥∫Lq ≈ô «∞FDd Ë«∞F∂o.. ô Ë«∞F∂o.. «∞FDd ≈ô ¥∫Lq ô «∞cÍ «∞Nu«¡ Ë«∞LP–Ê, ¥u§b ØKLU‹ ØU≠OW ±MUß∂W ∞uÅn §LU‰ ≥cÁ «∞Lb¥MW ≥cÁ §LU‰ ∞uÅn ±MUß∂W ØU≠OW ØKLU‹ ¥u§b «∞AdÆOW.. ´Kv «_Æq ØKLU‹ ¨d°OW." ØKLU‹ «_Æq ´Kv «∞AdÆOW..

±s îDU» ∞øøø "≠Ku¸≤f ≤O∑MπOq" "≠Ku¸≤f ∞øøø îDU» ±s

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