Object biography #20: A baboon of Iuwlot (Acc. no. 1785)

1785

Acc. no. 1785

This imposing (65cm high) black granodiorite statue represents the god Thoth as a baboon (Acc. no. 1785). Damage to the baboon’s muzzle has resulted in a rather forbidding impression, although Thoth was appealed to as a god of wisdom and of healing.

The statue has until now been dated to the New Kingdom, following archaeologist W.M. Flinders Petrie’s 1894 publication of finds from the site of Coptos, just north of Thebes. Several of the finds unequivocally dated to the reign of Ramesses II and so Petrie assumed the baboon to be of that period as well. However, the reading of the unusual name of the donor of the statue – a High Priest of Amun, named in an inscription within a pectoral carved on the baboon’s chest – has always puzzled me.

Petrie read the name of the donor as ‘Iua-Mer’ but did not publish a photograph of the statue or a copy of the inscription in the excavation report. Perhaps as a result it does not appear in a standard reference work of monuments, the Topographical Bibliography of Egyptian Hieroglyphic Texts. Unless someone had visited Manchester, it is unlikely they would know what the statue looked like.

Christies_Baboon

The Christie’s baboon

By chance, whilst perusing a Christie’s sale catalogue for an auction held on Thursday 2 May 2013, I happened upon the perfect doppelganger of our piece: a granodiorite baboon statue, identified as having been dedicated by a 22nd Dynasty high priest of Amun named Iuwlot. The unusual name, combined with a rare combination of hieroglyphic signs in its spelling mean there can be no doubt that this is the same man as dedicated our almost identical statue. Unsurprisingly given its apparent lack of publication, the author(s) of the Christies catalogue entry were unaware of the Manchester baboon.

Iuwlot is an intriguing but little-known character. He was the son of the Libyan king Osorkon I, and held the important title of High Priest of Amun at Thebes. He is attested from five other inscribed objects: two Nilometer Texts (no. 20 and 21), a stela from Thebes (British Museum 1224), a stela in Moscow and finally the so-called Stèle de l’apanage in Cairo.

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Detail of the pectoral carved on acc. no. 1785

In the vexed subject of ancient Egyptian chronology, especially of the Third Intermediate Period, all attestations of named and titled individuals count. Two new records can now be added for Iuwlot in the form of the baboons from Coptos – as the Manchester one has a firm provenance, it is likely that they were set up as a pair, perhaps to flank a temple doorway at Coptos. Interestingly, Iuwlot’s son Wasakawasa is known from an electrum pectoral dedicated to Thoth, Lord of Hermopolis (Petrie Museum UC13124), perhaps implying a particular family regard for this god.

These baboons may have been carved much earlier and have been repurposed by the 22nd Dynasty royal family. Other monumental elements, such as granite jambs of Tuthmose III, were reused by Osorkon I at Coptos, and such reuse is widely attested in ancient Egypt.

This is proof, yet again, that even well-visited objects on display can hide secrets in their stories.

Our baboon can be viewed in our award-winning ‘Gifts for the Gods: Animal Mummies Revealed’ exhibition tour.

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Who’s coming to a mummy ‘re-rolling’?

We will stage an animal mummy re-rolling, LIVE!

Ancient Egyptian Animal Bio Bank

Mummy unwrapping ‘spectacles’ were a popular pastime in the nineteenth century with mummies brought back from Egypt as souvenirs by travellers providing the majority of the candidates. These events were as much a spectacle, a Victorian socialite pastime, but as time wore on, the studies became increasingly linked to the people behind the mummies and the science behind the embalming process.

On June 10th, 1850, Lord Londesborough issued a now infamous invitation to witness the ‘unrolling’ of a human mummy from Thebes ‘at half past two’. A spectacle which was to take place at his home, in the comfort of his drawing room, no doubt with a glass of claret in hand. This invitation epitomises an ‘un-rolling’ event. Delving into the bandages, cutting through the layers of linen, to reveal the person within. Yet the vast majority of Lord Londesborough’s invitees were members of the Royal Society of Antiquaries, a…

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Talk Like an Egyptian – English Corner at Manchester Museum Tuesday 2 Feb

Museum Meets

Join us at Manchester Museum for English Corner on Tuesday 2 February at 1pm for free English conversation class.

The theme is Egyptian amulets.

English Corner also takes place in Manchester Art Gallery and Whitworth Art Gallery.

The February dates are:

Daytime sessions

Tuesday 2 Feb 1-2.30 at Manchester Museum, Oxford Road, M13 9PL
Wednesday 10 Feb 1-2.30 at Manchester Art Gallery, Mosley Street, M2 3JL
Friday 26 Feb 10.30-12 at The Whitworth Art Gallery, Oxford Rd, M15 6ER

Evening Sessions

Thursday 18 Feb 6.30-8 p.m at Manchester Art Gallery, Mosley Street, M2 3JL

English Corner runs every month on the first Tuesday, second Wednesday, third Thursday and fourth Friday. You are welcome to attend as many sessions as you can.

What is English Corner?

English Corner uses art and objects to help people practise English.

Practise your English speaking and listening skills. It’s a free English conversation class for…

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Animal Mummies #8: Secrecy, wrapping and revealing

Falcon_mummy

Gilded mummy of a falcon, an image of a god (Acc. no. 11293)

Mummies, whether human or animal, were never intended to be unwrapped. The ancient embalmers were wise to the fact that, especially for elite burials, tomb robbers might try to rip the mummies apart in search of valuables. But I doubt the ancients could ever have envisaged the extent of modern scientific curiosity. Yet we are, undeniably, curious. We see a closed, sealed package and it seems like a deliberate challenge: we almost instinctively want to know what’s inside. Modern technology allows us to look under the wrappings without damaging the mummies themselves. But why do we want to look, and why did the Egyptians wrap things in the first place?

Animal mummies and bronze statuettes of deities shared a common votive purpose: they were both appropriate gifts to give to the gods to further one’s prayers. Some bronzes have been found still wrapped in linen, as deposited by temple staff. Some more sizeable bronzes are hollow, with some even containing remains of mummified material; thus the boundary between ‘statues’ and ‘coffins’ is more blurred for animals than for humans. Regardless of what animal mummy bundles might contain, they were – like the bronzes – images of the gods. Such images were sacred and very powerful, and had to be carefully buried – either in a cache deposit or in a catacomb – after they had been donated by visitors to a temple.

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Wooden shrine with linen-wrapped images of gods (EES excavations, Saqqara)

It is important to acknowledge the role of wrapping in ancient Egyptian ritual practice. My predecessor as Curator of Egyptology at Manchester Museum, Christina Riggs, has written a provocative book on this topic, examining aspects of how wrapping and unwrapping have influenced the interpretation of ancient Egypt. Museums almost never acknowledge this. For example, in the tomb of Tutankhamun almost all the images of gods or the king were shrouded in linen coverings but none of these wrappings made it to displays in the Cairo Museum.

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Shrouded divine statues from the tomb of Tutankhamun

Recent controversy surrounding the display of mummies – and the seemingly endless analysis of it – highlights how sensitive we can still be about the subject of wrapping and unwrapping.

Shrouding or veiling draws attention to the fact that a secret is being kept, and adds power and prestige to the item being covered. Wrapping also protects, maintaining and enhancing the sacredness of an object. Modern museum display has tended to favour the removal and quiet disposal of these original wrappings. That is why – for the first time ever, to my knowledge – we have included a rewrapped bronze statuette of Isis nursing Horus in our ‘Gifts for the Gods’ exhibition. We hope this will provoke visitors to think of the bronzes and mummies as two different aspects of the same votive concept.

Campbell-wrapping

Re-wrapping a divine image

Many visitors to the ‘Gifts for the Gods’ exhibition will expect that animal mummies were all pets, and that the Egyptians were very strange for mummifying animals. What we have tried to show is that gifting was – and still is – a very important means of seeking divine attention in many cultures. Ours is the first exhibition that explicitly looks at animal mummies as votives, rather than simply as animals or mummies.

Animals were a category of beings between humans and gods, and were the perfect intermediaries between them. Millions of animal mummies were produced as eternal gifts, tokens of prayers of people who died over 2000 years ago, given in the hope that only the gods would know what was inside.

Secrecy breeds curiosity. There are no texts explaining what the Egyptians aimed to achieve by mummifying animals in such large numbers, so their purpose is something of a mystery that science is helping to. Faced with so many wrapped packages, we are like excited (Western) children on Christmas morning – we simply cannot contain our curiosity to see what’s inside.

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Study Day 13 Feb 2016: ‘Meeting the Gods: Interactions between mortals & the divine’

Acc. no. 5839. New Kingdom stela from Riqqeh.

‘Meeting the Gods: Interactions between Mortals & the Divine’

Saturday 13th February, 2016

Kanaris Lecture Theatre, Manchester Museum, Oxford Road

Presented by Egyptology Online in association with The Manchester Museum and the KNH Centre.

 

 

 

PROGRAMME

9.15 REGISTRATION: tea/coffee
9.45 Welcome and Introduction
10.00 Egypt’s Queens: Royal or Divine?
Joyce Tyldesley
10.45 Animals and Gods in the Ancient Egyptian Landscape
Stephanie Atherton Woolham
11.15 BREAK
11.45 Iron and the Bones of Seth
Diane Johnson
12.30 Lunch – (please make own arrangements)
1.30 Divine Communication: Animals as Intermediaries between Humans and Gods
Lidija McKnight
2.00 Imhotep & Amenhotep son of Hapu: Creative geniuses who became gods
Campbell Price
2.45 BREAK
3.15 Medicine and the Healing Deities
Roger Forshaw
4.00 Who you Gonna call? Dealing with Ghosts in Ancient Egypt
Glenn Godenho
4.30 Conclusion

 

For details of fees, and to book this event, please visit the Egyptology online website

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Object Biography # 19: The Book of the Dead of Padiusir

For the first time in its history, Manchester Museum is currently displaying (sections of) a copy of the Egyptian ‘Book of the Dead’.  Despite the negativity implicit in its modern title, the ‘Book of the Dead’ is, in fact, an extremely optimistic document. Hollywood has a lot to answer for in, Sam Raimi’s ‘Evil Dead’ series and ‘The Mummy’ franchise having conjured up an image of a forbidden text that must not be read aloud for fear of waking demonic forces.

BoD -The Mummy

The ‘Book of the Dead’ in The Mummy (1999)

In fact the ancient Egyptian name for the collection of texts can be translated as ‘Spells for Coming Forth by Day’. These spells – and accompanying images – act as both a guidebook and a passport to the afterlife, assuring a successful transition to the blissful ‘Field of Reeds’ after death. The key part of that transition is the judgement before Osiris, god of rebirth, and the most well-known vignette in the Book of the Dead is the scene of this judgement. The deceased is shown before a set of scales on which his or her heart is weighed against the feather of Truth. Usually, the feather is shown as heavier than the heart and thereby a positive outcome for the trial is magically assured.

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Papyrus Rylands Hieratic 3 – with judgement vignette

Other texts – or ‘chapters’ – in the Book of the Dead are designed to protect the deceased against misfortune on the journey to, and existence in, the afterlife. Copies of the Book can run to many metres in length and would have been rolled up into scrolls, deposited in the tomb, within the

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Hollow statuette for papyri – Warrington Museum

coffin or directly wrapped with the mummy. Hollow statuettes, known as Ptah-Sokar-Osiris figures, were common in elite burials of the 19th-22nd Dynasty as receptacles for Book of the Dead papyri.

The Book of the Dead currently on loan to Manchester Museum from the John Rylands Library is early Ptolemaic (c. 300 BC) in date. In common with many such papyri, the long roll has been cut up into sections for sale, which are now located in museums around the world. This copy was made for a man named Padiusir, and shows the deceased a number of times in standard vignettes. There are clear examples in some cases of a prefabricated papyrus, with the name of the deceased added secondarily.

Sections from late copies of the Book of the Dead, similar to Padiusir’s, have in the past been interpreted as key texts within The Church of Latter-Day Saints, and are the subject of extensive debate. Egyptologists tend to agree that this most common of ancient Egyptian religious compositions was for the benefit of the deceased, and is in no way likely to bring about a curse for the living.

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MAES Lecture 14/12/15 – Roger Forshaw ‘The Saite Revival: Resurgence of Egypt’s Power’

Hor statue

Saite statue of Hor. Acc. no 3570 © Paul Cliff

The next Manchester Ancient Egypt Society lecture will be given by Dr Roger Forshaw (University of Manchester)

The Saite Revival: Resurgence of Egypt’s Power

Monday 14th December, 7:30pm
Pendulum Hotel, Sackville Street, Manchester, M1 3AL
All welcome

 

Following the turmoil and political fragmentation of the Third Intermediate Period, a family of rulers from Sais in the Delta, in an extraordinary story of adroit diplomacy and military activity, reunited Egypt into a single state. For nearly a hundred and forty years Egypt was once again ranked as a major power and under Saite rule Egypt entered a period of economic prosperity and cultural revival.
Roger Forshaw, a retired dental surgeon, studied Egyptology at Manchester University and is now a research associate at the KNH Centre for Biomedical Egyptology.

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