Tag Archives: Mummies

Re-Framing Petrie: Of Skulls, Faces and Time

William Matthew Flinders Petrie (1853-1942) took a particular interest in the human face. A significant number of important finds from three seasons of excavations he directed at the site of Hawara were exported to Britain and acquired by Manchester Museum. Many currently form part of our Golden Mummies of Egypt touring exhibition, which – along with an accompanying book – aims to highlight the long shadows cast by Petrie’s evaluations.

Of the discovery of the so-called ‘Faiyum portrait’ mummies at Hawara, Petrie remarked in his journal that it a was ‘a great point anthropologically to have skulls of persons whose living appearance as to colour and feature is preserved to us by the portraits’. He was keen to match the exposed skulls of mummies with their associated panel painting in the apparent hope of something like facial reconstruction, and he was ruthless in his quest. In February 1888, Petrie records removing a cracked wooden panel painting from the wrapped body of a woman: ‘her mummy was not in very good condition as to the wrappings, so I secured her skull … and abandoned the rest’.

Petrie assumed – like most commentators after him – that the panel paintings represented a mimetic likeness, depicting the deceased as they had been in the prime of life. These ‘portraits’ remain popular with museum visitors in part because of their humanity, but also because of their technique and the apparently timeless illusion created by which observers are reminded of people they know today.

Detail of Alma-Tadema’s ‘Love’s Jewelled Fetter’ (1895)

The chance find of what Petrie referred to as an ‘Oxford frame’ – a design that now appears rather twee but which was popular in Victorian England – led him to assume that ‘portraits’ may have once hung in domestic settings. Here was a very clear case of an interpretation of ancient material rooted in modern experience of objects, and of observing images. A visitor to Petrie’s 1888 Summer exhibition of finds from Hawara was the Dutch painter Laurence Alma-Tadema, whose 1895 painting ‘Love’s Jewelled Fetter’ imagines a panel painting in just such an ‘living’ context.

The painted-during-life theory would not, however, explain the significant number of children and young people who could not yet have been considered at the height of their powers or influence when they died. One panel painting in the Manchester collection – one of only around 100 still attached to the mummy – represents a young man with gilding added to laurels in his hair and between his lips, motifs of divinity. Recent re-examination of the CT scan of the mummy suggests that the individual within the wrapping – who indeed only seems to have reached his later teenage years, was markedly obese. This would rather seem to contradict the slim young man whose face is painted on the panel; idealisation depends of the ideals of the people responsible for effecting it.

Mummy of a young man, with gilding in laurel and between lips (Acc. no. 1768)

Petrie’s fascination with matching skulls with mummy masks is perhaps most eerily illustrated by the discovery of a skull and an associated painted plaster mummy mask during Egypt Exploration Fund excavations at Diospolis Parva (now both in the British Museum). A photo in EES archives show’s Petrie’s apparent experiments with photography to superimpose images of both skull and mask together, perhaps in attempt to ‘prove’ a match. Similar assumed affinities are the basis of much facial reconstruction today, a ‘science’ developed in part at Manchester Museum. Yet, for me, none are to be seriously believed, at least not from the perspective of Egyptian conceptions of the eternal image suitable for the afterlife.

Skull and mummy mask superimposed. Image: Egypt Exploration Society archive

Insofar as it is a matter of elite record at different periods, the ancient Egyptians conceptualised two types of time. Neheh-time – the cyclical movement of night and day, of seasons and years, and Djet-time – the linear stretch of time, the time of monuments, hieroglyphs, and mummies. Things that exist in the latter dimension are eternal and in emulation of the gods.  Pharaonic statuary and mummy masks were conceived to exist in Djet-time. The do not show people as they were, subject to the cycles of life we all face – but eternal beings able to exist into everlastingness, rubbing shoulders with immortal gods, permanently memorialised – a timelessness that may in part explain their popularity today.

Based on his writings, Petrie (and many others before and since) were not aware of this distinction. In his 1912 eugenicist book Revolutions of Civilization, published at the close of his third and final Hawara season, Petrie asserted that sculpture could be used as the basis for a comparison between civilizations, because ‘it is available over so long a period, in so many countries, and so readily presented to the mind, that it may be well to begin with that as a standard subject for comparison, and afterwards look at other activities’; for him, sculpture was ‘the definite test’. Such confidence in the readable ‘truth’ of ancient images was well-established for Petrie. He had previously been funded by the British Association for the Advancement of Science and prominent eugenicist Francis Galton to record the ‘Racial Types’ represented on Theban monuments, a project rooted in colonial anxieties about the ‘other’ and predicated on the assumption that such representations were crafted to reflect some sort of objective, observed reality – rather than the stylised, subjective, ‘hieroglyphic’ image-world of Pharaonic Egypt.

Cast from Petrie’s ‘Racial Type’ series, now in Manchester Museum

This representationalist approach was marshalled by Petrie to further his (somewhat confused) arguments about the advancement of civilisation through migrations of people – but warns of the need to prevent such ‘racial mixing’ in future. Petrie concludes Revolutions with: ‘Yet if the view becomes readily grasped, that the source of every civilisation has lain in race mixture, it may be that eugenics will, in some future civilisation, carefully segregate fine races, and prohibit continual mixture, until they have a distinct type, which will start a new civilisation when transplanted. The future progress of man may depend as much on isolation to establish a type, as of fusion of types when established.’

While the explicitly racist agenda inherent in this discussion is clearly repugnant, Petrie’s insistence in the veracity of Egyptian sculpture remains persistent in some assessments of Egyptian statuary, and particularly in the panel paintings from Graeco-Roman mummies. The need to tie images to the depiction of real people say much more about the cultural anxieties of modern commentators than it does the skill of ancient artisans.

Some of these issues are discussed more extensively in a new book, Golden Mummies of Egypt. Interpreting Identities from the Graeco-Roman Period (Manchester Museum and Nomad Exhibition, Glasgow, 2020) now available from the Manchester Museum shop.

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‘Golden Mummies of Egypt’ – Manchester Museum’s First International Touring Exhibition

Glittering gold and mysterious mummies are among Ancient Egypt’s most enduring attractions – and the source of some of its most persistent cliches. Manchester Museum, part of The University of Manchester, houses a world-class collection of such Egyptological ‘treasures’. For the first time, and opening in Buffalo NY in February, the museum is launching an international touring exhibition Golden Mummies of Egypt to share some of its Egyptian highlights and to ask questions about how we interpret them.


Golden Mummies of Egypt examines hopes and fears about the afterlife when Egypt was part of the Greek and Roman worlds (c. 300 BC-200 AD). Wealthy members of this multicultural society still hoped for their dead to be transformed by the expensive process of mummification. By being covered in gold, the deceased might imitate the eternal radiance of the gods themselves. Blending Egyptian, Roman and Greek imagery, the strikingly lifelike painted mummy portraits are among the most haunting images from the Ancient World. Examining the meanings of these objects for their original viewers, the exhibition reflects on the diverse influences of identity formation.


Gilded mummy of a woman. C. 100 BC. From Hawara, Egypt. Acc. no. 2120. Photo: Julia Thorne (@tetisheri)

Exhibition Curator Dr Campbell Price said: ‘Using our superb collection from Graeco-Roman Egypt, the exhibition is a wonderful chance to question why the Greeks and Romans were so fascinated with the Egyptian way of death, and why we are still spellbound today.’

Mummy portrait of a woman from Hawara 2266

Painted mummy portrait of a woman. C. 150 AD. From Hawara, Egypt. Acc. no 2266

The University of Manchester has led research on Egyptian mummies for over a century, having acquired thousands of objects from archaeological excavations. The exhibition’s innovative visualisation technology brings CT-scans to life, but also questions why we are fascinated by mummies, what they might tell us about ourselves and the colonial context of their acquisition?

The need for such alternative perspectives is also inspiring Manchester Museum’s £13.5 million transformation hello future due to open in 2021, supported using public funding by Arts Council England and supported by The National Lottery Heritage Fund (NLHF) thanks to money raised by National Lottery players.

11254-God Osiris and wife Isis-openwork

Wooden openwork panel from a coffin, showing Isis and Osiris. C.100 AD. From Tuna el-Gebel, Egypt. Acc. no. 11254 Photo: Julia Thorne (@tetisheri)

Director of Manchester Museum Esme Ward said: ‘we are excited to be involved in this once in a lifetime opportunity to launch Golden Mummies of Egypt .The exhibition will bring together world class collections, University research and an exploration of both the current fascination and colonial context of Ancient Egypt. ’

In partnership with Nomad Exhibitions, the tour consists of over 100 key objects from the Manchester Museum collection, including eight mummies, as well as masks, coffins, jewellery and sculpture. Tim Pethick, CEO of Nomad, said: “Nomad Exhibitions are delighted to have the opportunity to work with the team at Manchester Museum to bring this outstanding collection to the world. It is particularly exciting for us to be able to create an Egyptian age exhibition that focuses on the rich, but often over-looked, Graeco-Roman period with its diverse multi-cultural society and cultures.”


Terracotta figure of the Egyptian god Bes as a Greek soldier. C. 100 BC. From Egypt. Acc. no. 11244 Photo: Julia Thorne (@tetisheri)

The exhibition opens at the Buffalo Museum of Science, in New York State, on Saturday 8th February 2020. From there it will travel to North Carolina Museum of Art in the Autumn before continuing to other US venues. Golden Mummies of Egypt will return to Manchester Museum’s newly built Special Exhibition Hall in time for the centenary of the discovery of Tutankhamun’s Tomb in November 2022.

Presale tickets will be available at sciencebuff.org on December 2.

Follow #GoldenMummies #GoldenMummiesBuffalo for more

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DNA confirms the Two Brothers’ relationship

Using ‘next generation’ DNA sequencing, scientists at the University of Manchester have confirmed a long-held supposition that the famous ‘Two Brothers’ of the Manchester Museum have a shared mother but different fathers – so are, in fact, half-brothers. This is the first in a series of blog posts presenting the DNA results, and discussing the interpretation and display of the Brothers in Manchester.


The ‘Two Brothers’ are among Manchester Museum’s most famous inhabitants. The complete contents of their joint burial forms one of the Museum’s key Egyptology exhibits, which have been on almost continuous display since they were first entered the Museum in 1908.

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The Two Brothers’ inner coffins: Khnum-nakht (left) and Nakht-ankh (right), 2011

Central to public (and academic) interest have been the mummified bodies of the men themselves – Khnum-nakht and Nakht-ankh – who lived around the middle of the 12th Dynasty, c. 1900-1800 BC. Their intact tomb was discovered at Deir Rifeh, a village 250 miles south of Cairo, in 1907 by an Egyptian workman called Erfai – a rare case where the non-European discoverer is named. He was working for Ernest MacKay and Flinders Petrie, the British archaeologists who wrote the reports and the names people usually remember. Unusually, the entire contents of the tomb – mummies, coffins, and a small number of other objects – were shipped to Manchester, rather than being divided among different international museum collections as was usually the case.

Once in Manchester, in 1908, the mummies of both men were unwrapped by the UK’s first female Egyptologist employed by a University, Dr Margaret Murray. This procedure, which mixed both science and spectacle, set the tone for more than a century’s worth of scientific investigation, exploiting the intact ‘time capsule’-like nature of the burial.

Margaret Murray 1908

Margaret Murray and team with the remains of Nakht-ankh, 1908

Murray’s team –namely Dr John Cameron, an anatomist – concluded that the skeletal morphologies were quite different, suggesting an absence of a biological relationship. Although notoriously difficult to age such skeletal remains, the team suggested that Khnum-nakht had been around 40 years of age when he died and that Nakht-ankh had died at around the age of 60, perhaps around a year later than Khnum-nakht (based on year dates inked onto the bandages of both mummies).


Margaret Murray’s original publication of the tomb group

Hieroglyphic inscriptions on the coffins indicated that both men were the children of an unnamed local governor (thus, they were of the elite in society) and had a mother of the same name, Khnum-aa. It was thus that the men became known as the Two Brothers. Based on contemporary inscriptional evidence, it was proposed that one (or both) of the Brothers was adopted. Up until recently previous attempts to extract and analyse DNA from the Brothers’ remains had been inconclusive.

Therefore, in 2015, the DNA was extracted from the teeth, removed by Dr Roger Forshaw, a retired dentist, and analysed by Dr Konstantina Drosou, of the School of Earth and Environmental Sciences at the University of Manchester. Following hybridization capture of the mitochondrial and Y chromosome fractions, the DNA was sequenced by a next generation method. Analysis showed that both Nakht-ankh and Khnum-nakht belonged to mitochondrial haplotype M1a1, suggesting a maternal relationship. The Y chromosome sequences were less complete but showed variations between the two mummies, indicating that Nakht-Ankh and Khnum-Nakht had different fathers, and were thus very likely to have been half-brothers genetically.

The study, which is published in the Journal of Archaeological Science, is the first to successfully use the typing of both mitochondrial and Y chromosomal DNA in Egyptian mummies.


The Brothers pose a number of questions of interpretation, which – despite much interest in them – have not been fully explored. Some of the issues concerning their display and interpretation will be examined over the coming weeks on this blog.


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‘Mummies, Magic and Medicine’: New book honouring Rosalie David

cover-2Prof Rosalie David OBE is the UK’s first female Professor in Egyptology, and former Keeper of Egyptology at Manchester Museum, whose pioneering work at the University of Manchester on Egyptian mummies, magic and medicine has been of international importance.

The volume, published by Manchester University Press, celebrates Professor David’s 70th birthday. It presents research by a number of leading experts in their fields: recent archaeological fieldwork, new research on Egyptian human remains and unpublished museum objects along with reassessments of ancient Egyptian texts concerned with healing and the study of technology through experimental archaeology. Papers try to answer some of Egyptology’s enduring questions – How did Tutankhamun die? How were the Pyramids built? How were mummies made? – along with less well-known puzzles.

Rather than address these areas separately, the volume adopts the so-called ‘Manchester method’ instigated by Rosalie David and attempts to integrate perspectives from both traditional Egyptology and scientific analytical techniques. Much of this research has never appeared in print before, particularly that resulting from the Manchester Egyptian Mummy Project, set up at the Manchester Museum in the 1970s. The resulting overview gives a good history of the discipline, illustrating how Egyptology has developed over the last 40 years, and how many of the same big questions still remain.


Rosalie David at Manchester Museum in 1974

Dr Campbell Price, Curator of Egypt and Sudan at Manchester Museum and senior editor of the book, said: “As the Museum’s Keeper of Egyptology for 30 years, Rosalie David has inspired many people, old and young, and has brought the collection and her subject to the widest possible audience. This book celebrates her work and a proud Manchester Museum tradition.”

The book, published in June 2016, is aimed at researchers and students of archaeology or related disciplines with an interest in multidisciplinary approaches to understanding life and death in ancient Egypt and Sudan.

‘Mummies, Magic and Medicine in Ancient Egypt: Multidisciplinary Essays for Rosalie David’ C. Price, R. Forshaw, P. Nicholson and A. Chamberlain (eds) Manchester University Press 2016.

Details, including Table of Contents, can be found at the Manchester University Press website: http://www.manchesteruniversitypress.co.uk/9781784992439/

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After Hours event 25/02/16: A mummy re-rolling

After Hours: Gifts for the Gods

Thursday 25 February


Manchester Museum. Drop-in, free, adults

A vibrant and eclectic evening where you can meet the curators, mummify some oranges, enjoy a glass of wine and much more.


Join Drs Stephanie Woolham, Lidija McKnight and Campbell Price as they rewrap a mummy, print a poem or hieroglyphic message to send to the gods or take a journey through the catacombs in the ‘Gifts for the Gods’ exhibition.


The University of Manchester is synonymous with the historic unwrapping of Egyptian human mummies. In a reversal of these events, as a way of learning more about how mummies were wrapped, rather than preserved, a public ‘re-rolling’ of an experimental animal mummy will take place. Manchester-based researchers and curators will work together with the view to answering the question – how easy is it to wrap a mummy? – and how long does it take?


How easy is it to replicate the intricate wrapping of a fine animal mummy…?

Re-rolling a mummy

6:15-6:30 –  Opening and introduction

6:30-6:45 –  Poetry reading with Anthony Parker

6:45-9:00 – Re-rolling a mummy

 6-9pm Drop in activities to explore and enjoy

‘Mummy Auction TV’ by iOrganic

Let curious performers iOrganic transport you back to 1890 through ‘Mummy Auction TV’: a fusion of historical fact and surreal modernity. This Victorian auction ‘TV programme’ puts the decision in your hands. How much would you pay for mummified cat furniture or Mummified Cat(tm) health food supplements? Have your say in this interactive performance. Every bid counts!


Ibis mummy pots at Saqqara – see how they were made

Ceramic demonstration by Pascal Nichols

Local Manchester ceramicist Pascal Nichols will be making a clay pot to house an ibis mummy, demonstrating the coiling technique used by the ancient Egyptians.

Textile printing with Sally Gilford

Manchester-based textile artist Sally Gilford introduces visitors to the screen print technique, to immortalise poems and hieroglyphic prayers.

Mummifying Oranges

Drop by to mummify an orange and create an animal head in the form of a suitable Egyptian deity.

With music by The Music Curators

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Animal Mummies #8: Secrecy, wrapping and revealing


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.

wooden shrine i018

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.

tut-shrouded gods

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.


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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MAES lecture 09/09/13: ‘Experimental Mummification’ by Ryan Metcalfe

Gilded Roman mummy mask from Hawara. Acc. No, 2179. Photo: Paul Cliff

Gilded Roman mummy mask from Hawara. Acc. No, 2179. Photo: Paul Cliff

The next Manchester Ancient Egypt Society lecture will be given by Dr. Ryan Metcalfe

Experimental Mummification

Monday 9th September, 7:30pm
Days Inn, Sackville Street, Manchester, M1 3AL
All welcome

Despite being a source of fascination and scientific investigation for well over a century, the methods used by the ancient Egyptians to mummify their dead are still not fully understood. The effects of the process on chemical analysis are also rather obscure, but the range of materials used in mummification may have a significant impact. A large number of experimental models have been produced over the years. Although these have tended to look at the overall success of the methods under investigation, the last few years have seen a small number of studies focussing on the chemical and biochemical effects of Egyptian mummification. This talk will present the most recent experiments undertaken at Manchester.

Ryan Metcalfe spent over 12 years in the KNH Centre for Biomedical Egyptology, working up from MSc student to Lecturer. Coming from a background in the sciences rather than Egyptology, his research has concentrated on the use of chemical and biological analysis and in particular how mummification affects our ability to work with ancient human remains.

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Curator’s Diary 7/5/12: CT-scanning the mummies (I)

Mummy 1767 is prepared for CT-scanning

Mummy 1767 is prepared for CT-scanning

Last week I followed in a proud Manchester Museum tradition when I accompanied four of our mummies to the Manchester University Children’s Hospital to be CT-scanned. The use of Computed Tomography (CT) has become an established method of non-invasive investigation of Egyptian human remains. The current work is part of a wider programme of investigation, using state-of-the-art methods, undertaken on the Museum’s Egyptian mummies by Prof. Rosalie David, former Egyptology curator at the Museum and authority on mummy studies, and Prof. Judith Adams, Professor of Diagnostic Radiology at the University of Manchester’s School of Medicine. It was thanks to Judith’s previous work with Rosalie – and continuing interest in mummies – that we were able to book our ‘patients’ in when the scanner was not otherwise in use.

Beneath the bandages: our first glimpse inside 1767

Beneath the bandages: our first glimpse inside 1767

On Wednesday evening we took the first two subjects in the study on the short journey from the Museum over to the hospital. These were the mummies of two Graeco-Roman gentlemen (Acc. nos. 1767 and 1768) which, because of their elaborate wrapping and in-situ portraits, made are ideal candidates for the procedure. Both mummies will feature in the new Ancient Worlds galleries and we were keen to discover something more about these unnamed men – their conditions in life and age at death. It is planned that the CT data will be given to a facial reconstruction specialist – another Manchester-pioneered technique – to compare the faces of the two men with their handsome (and idealised?) painted portraits.

Will the face behind the portrait mask of 1768 match its youthful good looks?

Will the face behind the portrait mask of 1768 match its youthful good looks?

The process of scanning the mummies, and the subsequent generation of a detailed cross-section image of them, was remarkably quick. A group of conservators and technicians from the Museum stood alongside nursing staff in absolute silence as the mummies’ bandages were digitally peeled away. The first mummy (1767) didn’t reveal any immediate surprises, though the scan of the second (1768) showed clearly that the body had been wrapped together with a wooden plank, or mummy board. Graeco-Roman mummy boards are often inscribed with religious texts naming the deceased. If the board is indeed inscribed, then the fine detail of the scan – around 0.6 of a millimetre – ought to make it possible to read the texts on it. This would enable the name to be restored to this otherwise anonymous individual, without the removal of a single bandage. Another interesting observation made at this initial stage was that the brains of both men do not appear to have been removed during mummification. This is characteristic of a focus on the outside appearance of the mummy in the Graeco-Roman period, rather than on internal preservation.

Further analysis will reveal more about the men and their mummification techniques, details of which I will post when they become available. The story of the investigation will feature in the Ancient Worlds galleries and on-line.

Next time: CT-scanning the mummy of Asru and a mummified crocodile – Stay tuned!


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Event: Mummies in Medicine and the Imagination

MummyMummies in medicine and the imagination

2:00PM – 3:00PM 17 March 2012, The Manchester Museum

Discover how changing medical practices shaped new ways of thinking about archaeology, mummies and ancient Egypt. From the medical study of human remains came ideas about history and civilisation, while in the public imagination, scientific investigations into mummies inspired dread, horror and fear – such as the ‘curse of the mummy’. Join local historians Neil Pemberton and Jo Baines for this talk to discover the truth behind the legends of Egyptian mummies. Part of National Science and Engineering Week.

Price: Book on 0161 275 2648, free, adults

More information at the Museum Meets site.

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New exhibition: ‘Secret Egypt’ in Carlisle

Secret Egypt CarlisleSecret Egypt: Unravelling Truth from Myth


10th March 2012 – 10th June 2012

10:00 am – 5:00 pm

Location : Tullie House Art Gallery, Carlisle

Is there a mummy’s curse?
Were the Egyptians obsessed with death?
Did aliens build the pyramids?

Such questions are addressed in Secret Egypt, a major exhibition which examines popular modern ideas about the ancient Egyptians and uses objects to suggest that the truth might be otherwise.

The exhibition features around 200 artefacts on loan from major Egyptology collections throughout the UK including Manchester Museum, the Ashmolean and Birmingham Museum and Art Gallery. Moving through six themes, it begins by asking what is real and what is fake via an examination of funerary objects that helped Ancient Egyptians into the sacred world of death before debunking some of the more spurious myths that have grown up around them.

Secret Egypt is a touring exhibition developed by the Herbert Art Gallery & Museum, Coventry.

Find out more here.

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