!! an egyptian bestiary the metropolitan museum of art bulletin v 52 no 4 spring 1995 by alfonse K

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Egyptian Bestiary Dorothea Arnold

THE METROPOLITAN MUSEUMOF ART

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Acknowledgments Theauthorwishesto express herwarmest appreciation for suggestions, comments, andstimulating questions to MartinaD'AltonandToniaL. Payne,editors.Shealsowishesto thankJamesAllen,Marsha Hill,Catharine Roehrig,andJoanDetterof theDepartment of Egyptian ArtatTheMetropolitan Museumof Artforcommentsandsuggestions.JamesG. Doherty,generalcurator of mammals at theWildlifeConservation Society,read themanuscript andcontributed highlywelcomecriticalremarks on thezoology.Anyerrorsthat remainarestrictlytheresponsibility of theauthor. Thanksalsogo to GeorgeWheelerand DeborahSchorsch, Department of ObjectsConservation attheMetropolitan Museum,who identified materials.

Chapter-opening images Page7, "TheEgyptian Desert": A deceased officialadoresdeitiesin thewesterndesert. Detailfroma watercolor facsimile aftera paintingin thetombof Userhat(T SI)at Thebes,earlyDynastyI9, ca. I294-I279 B.C. Normande GarisDavies,dateunknown. RogersFund,I930 (30.4.3I).

Page24, "Wetlands andWaterways": Marshland fauna.Watercolor facsimile aftera paintingin thetombof MennaatThebes, DynastyI8, ca.I400-I35O B.C. Ninade Garis Davies,I924. RogersFund,I930 (30.4.48). Page38, "TheAlluvialLand": Activities in the alluvialland.Detailfroma watercolor facsimileaftera paintingin thetombof Nakht, DynastyI8, ca.I400 B.C. Normande Garis Davies,dateunknown.RogersFund,I9IS (I5-

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Page6I, "ABriefHistoryof Animal Representations in EgyptianArt":Geese. Watercolorfacsimileaftera paintingin the tomb of Itet, Dynasty2, ca. 2600 K. Wilkinson,I920-hI.

B.C.

Charles

RogersFund,I93I

(3I.6.8)

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Director'sNote

"Metropolitanmakingtheslavishcopiestheywere sobriquet and"intheiroff hiredto produce," Zoo"mightbeapplied sketchto the veryappropriately times. . . amusedthemselves ingsnatchesof lifeon flakesof the of ourdepartgalleries of limestonewhichlittered art.Thousands paper-white mentof Egyptian Winlockcitedourhorse theground." andreptiles feathbirds,animals, rubbinghismuzzle andscaled fromante- (no.70) "drawn ered,furred, as (in foreleg" lopeto zebu,from3/6 inchestoalmost againsthisoutstretched to a "surely fourfeet,in mediafromalabaster WinlocEsunderstanding) no scene ofyears pureexperiment, forprobably thousands represent obsidian animalart.Throughout in thetombcontainedanysuchfigof Egyptian (no.35),a rela- ure."Anda hippopotamus man's collections, theMuseum's andrelbeast Egyptian quintessential isseldomso withcreatures tionship William(back ativeof our"mascot," portrayed. sensitively thebrilliant cover),caughthiseye:"Oneof the Herbert E.Winlock, oftheMetro- mostcharmingbitsthathaveever anddirector Egyptologist comeout of Egyptis on a flakeof fromI932 to I939, wrotein a politan limestoneaboutthebigness whitest thatEgyptian I923 Bulletin December of the palmof a man'shand.Some anlW to en]oycWrawlng seemec artlsts in try- templesculptorhasbeenaskedhowhe mals,taking"farmoreinterest and, woulddrawa hippopotamus thanin ingto drawsuchsubjects The

pickingup thisflake,he hasportrayed a sedatebeastof a purplishbrownhue withpinkeyesandbellyandan enormousjowlindicatedwitha fewswift Wesharehisdelight. strokesof black." Theleaderof thisBulletin"safari" is DorotheaArnold,curatorin charge ArtDepartment, of theEgyptian forthesubjectis whosefascination clearlyevidentin herinspiredtext.To shecalled ensurezoologicalaccuracy, uponJamesG. Doherty,generalcuratorof mammalsat theWildlifeConSociety.Wehopethattheir servation effortswillenhanceyourenjoyment "atlarge" of alltheEgyptiancreatures in ourgalleries.

Philippede Montebello Director

MuseumofArt Bulletin TheMetropolitan

SpringI995

VolumeLII,Number4 (ISSN0026-I52I)

postagepaidatNew Second-class Museumof Art,IOOO FifthAvenue,NewYork,N.Y.I0028-OI98. (C)I995 byTheMetropolitan quarterly Published by andis available asa benefitto Museummembers MuseumofArt Bulletinis provided MailingOffices.TheMetropolitan York,N.Y.,andAdditional Sendaddress POSTMASTER: forchangeof address. a year.Singlecopies$8.95. Fourweeks'noticerequired $25.00 Subscriptions subscription. on Backissuesavailable Museumof Art,IOOO FifthAvenue,NewYork,N.Y.I0028-OI98. TheMetropolitan Department, changesto Membership asdothboundreprintset available 300N. ZeebRoad,AnnArbor,Mich.48I06. VolumesI-XEVII (I905-I942) Microfilms, fromUniversity microfilm Drive#Io, Salem,N.H. 03079, orfromtheMuseum,Box700, Inc.,50 Northwestern yearlyvolumesfromAyerCompanyPublishers orasindividual Editor:ToniaL. Payne. JoanHolt.Associate JohnP.O'Neill.Editorin Chiefofthe BULLETIN: ofPublicatzons: MiddleVillage,N.Y.II379. GeneralManager Studioof The noted,byThePhotograph unlessotherwise Allphotographs, Shroyer. Design:Michael MatthewPimmandJayReingold. Production: (g3BruceWhite:frontcover,titlepage,pagesI7, 44, 6I photographs byJosephCosciaJr.Additional Museumof Art.Newphotography Metropolitan Period, Magna,Ptolemaic (hawkdetail),64. Frontcover:Gazelle,DynastyI8, ca.I400 B.C. SeepagesIO-II. Titlepage:FlyingFalcon.Hermopolis Game. Pagefi4: HoundsandJackals Gift,I9Z6 (Z6.7.991). Edward S. Harkness faienceinlay;1.11%8 in. (zgcm).Purchase, 304-30 B.C. Polychrome Back Gift,I926 (26.7.I287). S. Harkness Edward Birabi,lateDynastyI2, ca.I800 B.C. Ivoryandwood;h. 2/2 in. (6.3cm).Purchase, Thebes,tomb2SX (I7.9.I) I9I7 S. Harkness, h. 43/8in. (II.2 cm).Giftof Edward B.C. Faience; Meir,DynastyI2, ca.I900-I800 cover:Hippopotamus.

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andthe thanpurelypoeticmetaphors, sameis trueforthepictorialrepresentationsof thegodHorusasa falconor elvlne. of the therisingsunasa beetle.Images,acOnewayto expressreverence divinein animalswasthroughthe use cordingto Egyptianbelief,wereentiof animalimagesin artandreligion.A tieswithlivesof theirown,andthe pictureof a falcon,beetle,orother NewKingdomhymnexclaims: thegodbut animalnot onlydescribed Hailto you,Atenof daytime, couldstandin forthedeityasa visCreatorof all,whomakesthemlive! of the ibleandtangiblemanifestation Greatfalcon,brightlyplumed. Thisunderinvisibleandintangible. Beetlewhoraisedhimself. standingof imagesis closelyrelated of thesolar to magic.Animals,indeed,playeda In thistextthecharacter firstthroughassoci- greatrolein Egyptianthaumaturgy, deityis described andmanyamuletsandmagicalobjects ationwitha brightlycoloredfalcon usedanimalimagery. soarsintothesky, whotriumphantly of substantiality Theperceived witha scarab thenby identification divineanimalimagesnotwithstandbeetlewhocrawlson thefertileearth ing,no Egyptianthoughtthatthesun dungball, pushingits mysterious godactuallylookedlikea falconor whichis theshapeof thesundisk.In knewthat eachcasetheimagecallson common beetle,andeveryworshiper totality the conveyed image single no experience of and humanobservation of a deity.Thisis whyin textssuchas animalandthereby witha particular theonequotedabovetheimagesshift of a deity. evokestheproperties fromoneanimaltO another,andin It is importantto realizethatto plctorlalarta deltycanappearln a theseimagesweremore Egyptians, existencewiththegods,andthrough themcontactcouldbe madewiththe ,

singlecontextin theformof various animalsor asthesameanimalin differentposes. thatno oneimage Theknowledge theessenceof a canfullyrepresent to thatmost deityalsocontributed puzzlingcreationof Egyptianart,the godwitha humanbodyandananimal head(nos.I4, 28). Again,Egyptians didnot thinkthatany unquestionably of theirdeitieswereactuallyformed thatway.The imagesareconceptual partby part, andshouldbe "read" script.Thehuman likehieroglyphic bodyinformstheviewerthatno ordinaryanimalis depicted,andthe animalheadsignalsthesuperhuman of thedeity.It is solelydue properties to theEgyptianartists'imaginative conabilitiesthatsuchtheoretically becameconvincing ceivedpictograms of a thirdkind. creatures differenEgyptianrepresentations tiateclearlybetweenthecombined imageof a god human-and-animal anddepictionsof personswearing

at Thebes,DynastyI8, ca.I425 Fig.1. A scribenotesthe spoilsof thehunt.Drawingaftera paintingin the tombof Rekhmire Museumof Art of The Metropolitan Publications at Thebes, FromNormande GarisDavies,TheTombofRekh-mi-Re vol. II (NewYork,I943), pL 44 EgyptianExpedition, 4

B.C.

Fig.2. Hieroglyphic signdepictinga ramanddesignating the syllablekhnumin thenameof thetombowner.Watercolor facsimileaftera paintingin thetombof Khnumhotep at Beni Hasan,DynastyI2, ca.I897-I878 B.C. Norman or Ninade GarisDavies,I93I. RogersFund,I933 (33.8.9)

Fig.3. Hyenaatbay.Watercolor facsimileafterapainting in thetombof Amenemope atThebes, Dynasty I8, ca.1400-I390 B.C. Charles K. Wilkinson, I920-2I. Rogers Fund, I930

animalmasks,suchasthejackal masksthatwerewornbypriestsduringfuneralandtempleritesandthe lionmasksthatmagicians woreon theirheads.Thepracticeof wearing masks- knownfrommanycultures allovertheworld-is basedon the understanding thatbyslippinginto ananlmalmage,a personcanstep out of humanness to becomeanother beingthatwieldsdivinepower. If theimagesof animalsevokedthe 1 *.. .. presenceorr oeltles ane1 splrlts, lt 1S not astonishing thatindividual livinganimalscouldserveasrepositories for gods,in muchthesamewaythat, according to Egyptianbelief,statues offereda godplacesof materialization.Theindividual animalchosen forsucha role forinstance,theApis bull(no.66) wasoftensingledout fromothersof thespeciesbybeing *

markedbodilyin a certainmanner, andafteritS deathanotherindividual bearingthesamemarkings wouldbe installed. Thespeciesasa wholewas not includedin suchworship. A differentmatterwasthebelief thatentirespecies,suchascats,ibises, andcrocodiles, weresacredto certain deities,whomighthaveanaffinity withtheparticular animalthatwasalso expressed in imagesof thedeity.Such beliefsbecameespecially strongin the LatePeriod(664-332B.C.) andPtolemaicandRomantimes(304B.C.A.D. 39S)andresulted in thecustom of embalming thousands of animals fromcertainspeciesandburyingthem in vastunderground cemeteries (no.4S) Onemaybe temptedto see in suchproliferation a signof decline in thespontaneous awethatcharacterizedman'sattitudetowardanimals

(30m4tI23)

in earlierperiods.However, thebasic conceptunderlying theLatePeriod sacredanimalriteswasdeeplyrooted in Egyptianreligiousthinking,which considered animalsto be the"external souls"orpotencies(baw)of a god. Theanimalsof Egyptwerenot merelyusefulcompanions; manywere dangerous, lifethreatening, and destructive. The Egyptians neverthelessdidnot categorize theanimal worldaseithergoodor evil.On the contrary, Egyptians hadwhatseemsat firstto be anambivalent attitude towardmostanimals.Hippos,crocodiles,turtles,andotherspeciesappear to haverepresented beneficial qualitiesat sometimesandevilaspectsat others(nos.33-37).Thisphenomenonwasso widespread thattheword amolvalenceseemslnauequate. Modernlogicfindsa contradiction in (s

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a dualitythatfortheancient people turmoil anddestruction wereasnecwasaninherent quality of existence. essary andrealasthetriumphant Animals, fortheEgyptians, werenei- forcesof lifeandorder. Therefore, it thersolelybeneficial norexclusively musthaveseemed deeplymeaningfi evil,butembodied forces oflifebeyond to theEgyptians thatpotentially goodandevil. destructive andlife-threatening aniCentral to allunderstanding of life mals,suchashipposandcrocodiles, in ancient Egyptis theconceptof livedin themarshland's muddy cyclicrenewal. Animals demonstrated waters. Muddy waterwasconsidered theirrolein theever-recurring rebirth thequintessential environment of creof nature andtheuniverse through ation,sinceit wasfromthesodden theirabilitytO procreate andmultiply. fieldsaftertheannualflooding bythe ItwasthisfactthatmaderepresenriverNilethatfreshlife-sustaining tationsof animallifeappropriate vegetation grew.Thehippo,therefore, decorations fortombs.Manysuch itsheavyfiguredecorated withmarshdepictions incorporated dangerous landplants,symbolically combines predators, suchaswildcatsorcroco- thedangers of destruction andthe diles,theirevilintentions directed renewal of lifein onepotentimage especially against theyoung.Renewal, (seebackcover). according to Egyptian thought, was TheancientEgyptians' attitude of theoutcome ofa never-ending struggle awetoward ananimal worldthatincorbetween creative anddestructive porated a multitude of deitiesand forces.Inthisstruggle theforcesof forcesof lifewasneither contradicted

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nordiminished bytheequally strong conviction thatanimals shared with humans protection bya supreme deity, wzosemostlmportant representatlve wasthesolargodRe.Inthisreligious contextmanderived confidence and consolation fromthecontemplation of thegod'swiseprovision forallcreatures,andanimals appeared asthe siblings ofhumans. InEgyptian artthisaspectof animallifeproved to beoneof themost *

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animals withprecision andcare.In literature manytexts,especially of the NewKingdom, express thesame thoughts. Thefollowing hymnis addressed to thesungod: Youaretheonewhohascreatedall thatexists, Whocreatestheherbsfromwhichthe cattlelive, Andthetreeof lifeformankind, Whobroughtforththeriverwhich letsthefisheslive, Andthebirdswhofillthesky. Whogivesairto theonein theegg; Whokeepsalivetheyoungof the snake, Whocreateswhatthemosquitolives off, Aswellaswormsandfleasi Whocaresforthemicein theirdens Andkeepsalivethebeetlesin allkinds of wood.

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Fig.4. LatePeriodanimalamuletsand figurinesin Egyptianart gallery22 6

The

Egyptian Desert

themostfamousliterarywork forpOtS. Mostimportantly, in ancient of ancientEgypt,Sinuhe,a timestheEgyptian desertwasteeming nobleman,fearingthewrathof withwildlife. a newpharaoh,fleesEgyptand Duringtheprehistoric periodand crossestheeasterndesertintoAsia. theOld Kingdom,theareasborderYearslater,asan oldman,he returns ingtheNilevalleyon theeastand anddescribes hisperilousjourneys: westwerestepperatherthanbarren "Anattackof thirstovertookme," wasteland, supporting patchesof grass, he writesaboutadventures duringhis shrubs,andevenoccasional trees. desertcrossing."Iwasparched,my Minorwatercourses andsporadic rains throatburned.I said,'Thisis thetaste nourished theplants,andthevegetaof death."' To theancientEgyptians tionin turnsustained a richvarietyof thevastaridlandsflankingtheirferanimals.Forhumanslivingin the tilevalleycouldindeedcarrythethreat Nilevalley,wildsteppegameconstiof death.If theyventuredbeyondthe tutedan importantsourceof foodin valleymargins,theymightsufferas theseearlytimesandservedasofferdidSinuhe,fallvictimto predators, ingsto thegodsthroughallperiodsof or encounterstrangeandforeign Egyptianhistory.Huntingsteppeanipeople.It musthaveseemedfitting malsin thewideopenlandsgave thatthedesertwasa "landof death," kingsandnoblesampleopportunities wheretheEgyptians buriedtheirdead. to provetheirvalorandfeelthemHowever, thedesertwasalsothe selvesto be mastersof theuniverse. bountifulrealmthatprovidedstone In Egyptianreligionthe existenceof forEgypt'smagnificent buildingsand abundant animallifein the"landof statuary, goldandsemiprecious gems death"becamea potentsymbolof life forjewelry,metalsandmineralsfor afterdeath.Innumerable representaluxurygoodsandweapons,andclay tionsof desertandsteppeanimalsin

tombsandroyalfunerary monuments, aswellastheuseof suchanimalsas amuleticobjects,areevidenceof this. Duringthewholepharaonic period, wildherdanimalssuchasantelope andibexandpredators suchaslions andleopardsroamedthesteppewhile it turnedgradually intodesert.Many othercreatures-fromtinyjerboas, whoselonghindlegsenabledthem to performacrobatic leaps,to hedgehogsandwildcats-madetheirhomes in thehillystepperegion.Therewere stillelephants andgiraffesin thisarea in fourthmillenniumEgypt,butthey gradually diminished ascultivation, raisinglivestock,andclearingwoodland,alongwithclimaticchanges, causedsteppevegetation to recede. Today,althoughtheEgyptiandesert stillsupports somevegetation andwildlife,manhasbroughtmanyEgyptian desertspeciesto thebrinkof extinction, andthedesertandsteppeenvironmentsthattheancientEgyptians knewcanbe foundonlyin presentdaySudanor farthersouth. 7

I. Comb

2. The Hunt in the Steppe

h. 2X4 in. ca.3200 B.C. Ivory; Predynastic, M. DavisCollection, (S.7cm).Theodore M. Davis,I9Ii ofTheodore Bequest

Dynasty, probablyca. 23S0B.C. Saqqara, in. (60.3cm). Rogers Limestone;h. 23X4 Fund,I908 (08.20I.Ig)

(30.8.224)

The animalsminutelycarvedin relief on thissmallcomb(itsteethnow missing)havebeenidentifiedwith On oneside moreorlesscertainty. (fromthetop)area rowof elephants standingon giantcobras,thenone of a stork,whichhasa snakeunderits eitherits foodor the beak(indicating it inhabits), wetlandenvironment leadinga giraffe,threemorestorks, anda heronorcrane.Thenextthree the rowsincludea dogattacking hindmostof threelargefelines,a line of antelope(possiblyonegazelleand threeoryx),anda lineof whatmight be dogsorpigs,endingin a staror flower.On thecomb'sothersidethe butbelow top two rowsarerepeated, a row, in (jackals?) themarecanids followedby cattleorwildbulls,and againa lineof dogsorpigs.Theanifromrowto directions malsalternate or row.Thlscreatesan lmpresslon whilethe continuityandperpetuity, factthattheentirespaceis filledwith animalsspeaksof an overwhelming of animallife. abundance The elephantsaremoreschematithantheotheranimals, callypresented andtheirpositionatoptheserpents seemsto be symbolic.The mythology eleof manyAfricanpeoplesassociates phantsandserpentswiththecreation r

Thebowandarrowwasthemostimportanthuntlngweaponln anclent Egypt,butduringthe Oldandearly MiddleKingdomsgrazinganimals wereoftenhuntedwithlassosafter theherdhadbeendrivenintoa stockto catchthe ade.It wasimportant animalsaliveso thattheycouldbe fattenedin captivitybeforetheywere Onedetail(top)showsan slaughtered. beingroped ibexnubiana, ibex,Capra row The uppermost of theuniverse. of thesteppe. in thehillylandscape a cre- Thepenis not represented of eachreliefmaythusrepresent in this ativedeityto whomtherestof the relief,asit is in manyotherhunting No human scenes.Dogsaccompany animalsowetheirexistence. thehuntsbeingis depictedon thecomb,butthe men;in theotherdetail(bottom) dog shown onehoundcatchesa Dorcasgazelle, of theattacking presence by its upward-curling Gazella asdomesticated by the leg, while dorcas, hintsat theexistenceof man, tail anotherattacksa hyena.A hareanda withpharathehunter.Comparison gazellecrouchbehindtreesandbushes suchasthe onicrepresentations, to escapethehunters.Hieroglyphic sugeven drawingin numberI2, may givetheanimals'names inscriptions gestthatthisdogbelongsto a ruling anddescribethelassohunt. chieftainorking. In additionto thewell-known times Whileivoryin pharaonic theMuseum completetombof Perneb, wasveryoftenof hippotooth,this chapelof Prince ownsthefunerary combis madeof elephantivory,an Thedetailsherearetaken Ra-m-kaj. indicationthatelephantsmaystill froma reliefon its southwall.The havebeenroamingthedesert-steppes princeandheirto the thronemust becausea at theendof thefourthmillennium havediedprematurely, of dynastichisB.C. Bythe beginning carvedfora judge tomboriginally wasadaptedfor tory,elephantsandgiraffesweregone namedNeferiretnes fromEgypt,andtodaylionsno .l1S lnterment. longerlivethere. .

3. Gazelle ivory, Dynasty I8, ca.I400 B.C. Tinted inlay;h. 4/2 in. wood,andblue-pigment S. Harkness Edward (II.5 cm).Purchase, Gift,I926 (26.7.I292)

A lovepoemof theNewKingdom likensthepassionof the loverto the intensityof a gazelleasit fleesthe hunter: O thatyoucameto yoursister[lover] swiftly, Likea boundinggazellein thewild; Itsfeetreel,itslimbsareweary, hasenteredits body. Terror A hunterpursuesit withhishounds.

Thiselegantivorygazelleseems poisedforjustsucha flight,itsslenderlegssetdaintilyon theuneven groundof thesteppe.It standsamong desertplantsthatareincisedintothe woodenbaseandfilledwithbluepigment.Theplumplittlebodyis smoothandlustrous,theheadheld alertlyon a swanlikeneck,andthe circular eyestinteda velvetybrown.

Purplecoloringon theforeheadand muzzle,aswellasasymmetrically lineson the appliedpurple-brown backandtail,mayindicatedifferencesin theshadingof thefur.The hoovesaredarkbrown.Theanimal's earsarebrokenoff,andthehorns, madeof anothermaterial, originally aremlsslng. Thegazellestatuettewasmost partof a richburialequipprobably ment.In thiscontexttheanimal servedasa symbolforthepowersof attributed to renewalthatEgyptians alldesertandsteppeanimals.The themummy Museumalsopossesses of a realgazellethatwasburiedwith thecoffinof a Thebanladyof Dynasgr26 (664-525B.C.). .

4. Weightof ThreeDebenin the Shapeof a Gazelle DynastyI8, reignof AmenhotepIII, ca. I390-I353 B.C. Bronze;h. 2X8 in. (5.4cm). Purchase,LilaAchesonWallace Gift,I968 (68.I39.I)

Theartistwhoshapedthisbronze obgazellewasa masterof carefully serveddetails.Theneckstretches fromitshumpedbasein a natural, The correctmanner. anatomically aretensed, musclesof thehindquarters theweightrestingon theleg reflecting joints.Heavy,droopinglidshalfcover nostrilsare theeyes,andtheanimal's flaredasif scentingtheair.Theartist thequalitiesof thehard hascaptured knobbyhornsandthesoftfurryears. Threeincisionson thebackof the animalindicatethatthefigurewas (273 supposedto weighthreedeben grams),whichis slightlymorethanits actualweightof 26I.8 grams,a differBronze encecausedbycorrosion. weightsin animalformwerecommonduringtheNewKingdom.They weremainlyusedto weighgoldthat servedaspaymentandtributeorwas in usedbyjewelersor othercraftsmen theirwork.

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S Antelope Head Dynasty27, 525-404 B.C. Graywacke, inlaid Egyptianalabaster andagateeyes;h. 3/2 in. (9 cm). Purchase, RogersandFletcher FundsandJosephPulitzerBequest,I992 (I992.

55)

Thesculptorhasshapedthisheadof anantelopeso skillfullythata distinct impression of itsdelicate,thinbone structure is conveyed. Theskinis stretched overtensesinewsandlean flesh.Thesoft,sensitivemuzzleseems welladaptedto sampledesertherbs andgrass.Theeyes,almondshaped withluminousalabaster inlaysfor theeyeballs,areespecially striking. Theremaining agateinlayof theright pupil bluishpurplewitha gray outercircle lendsa hypnoticquality to theantelope's gaze.Originally hornsof ivoryor gildedwoodwere attachedto theheadbytenons. Onlyrecentlyhavegazelles,antelope,andibexbecomescarceto the polntorextlnctlonln egypt.even at thetimethisheadwasmade,however,it wasprobably rarefortheordinarynonhuntingEgyptianof the alluviallandto encounteroneof these elegantcreatures. Thesculptorcertainlyreflectedin hisworkan expressionof aweat thequasi-miraculous appearance of theanimal. Thehead a masterpiece of Late Periodanimalsculpture-wasmost likelynot partof anentirefigurebut rathercrownedtheprowof a ceremonialboatdedicatedto thegodSokar, whowasin chargeof thedesertand thepyramidcemeteries nearEgypt's capital,Memphis.

6. Ibex Dynasty I8, ca.I55O-I300 B.C. Faience (figures of a crocodile anda fishengraved onunderside); h. /2 in. (I.2 cm).Purchase, Edward S. Harkness Gift,I926 (26.7.So)

7. Ibex LateDynasty I8, probably reignof Amenhotep III,ca.I390-I353 B.C. Mottled semitranslucent cryptocrystalline quartz closelyresembling jasper(horndamaged; twoholesdrilledon underside, oneeach, frontandback);h. I in. (2.5 cm).Purchase, Vaughn Foundation Gift,I980 (I980.2)

ibexfrequently servedasthehieroglyphicemblemfortheword"year." Thesetworepresentations of recumbentibexaremarkedly different fromeachotherin postureandexpression. Thefaienceanimalon its littlebasemightbe crouching behind a bushduringa hunt.Eyeswideopen andheadonlyslightlyraisedfromthe forelegs,theanimalseemsto be listeningandsniffingforthedreaded hunterandhisdogs.In contrast,the quartzibexliftsitS headproudlyon an uprightneck.In a posturerecalling thebronzegazelle(no.4), both forelegsarebentbackward andthe bodyrestsgracefully on theleft haunch.Despitethesmallsizeof thefigure,theartisthasconveyedthe unevenweightdistribution with remarkable accuracy. Theanimal's body is curved,andthelefthindleghasdisappeared underthehaunch.Thispose wasusedforthelargeramsculptures thatKingAmenhotep IIIdedicated to thegodAmun-Reat his templeof Soleb,UpperNubia.The stronginfluencesuchlargesculptures exerted on theminorartsis reflectedin the smallfiguresof thisibexandthe bronzegazelle. The two ibexfiguresservedas adornment. Thefaienceoneis pierced horizontally to fit into a ring.The quartzibexmayhavedecorated an elaborate perfumevessel,in which caseit wouldhavebeenattachedby pegsortubesprotruding fromtheundersideandbypiecesof wiresecuring it frontandback.

TheancientEgyptians considered the ibexto be a good-luckcharmand symbolof renewal.Ibexfiguresoften decorated NewYear's gifts,andin "HappyNewYear" inscriptions an 13

8. Statuetteof the GodAnubisas Embalmer 304-30B.C. Woodwith Period, Ptolemaic gessoandpaint;h. I6/2 in. (42cm).Giftof I938(38.5) Mrs.MyronC.Taylor,

the Thiswoodenfigurerepresents godAnubiswitha canidheadon a humanbody,wearingthefeather costumeof Egyptiandeities.In this pose handsraised,palmsdownpurifiward thegodperformed ritesover cationandtransfiguration a mummy.Duringtheactualmummltlcatlonprocess,a prlestwearlnga canidmaskplayedtheroleof Anubis. *

era.Thespecieswasrareevenduring timesandlivednot in the pharaonic steppeproperbutin thebrushat the lands.It is borderof theagricultural actuallysaw likelythatfewEgyptians thisshyanimal,althoughfromthe OldthroughtheNewKingdomrepstags of themagnificent resentations appearin imagesof thehuntin the desert. thiscenTheartistwhohammered terprotomefromsheetgoldforthe crownof a Hyksosladyof highrank createdsucha detailedimagethathe musteitherhaveseentheactualcreatureorbasedhisworkuponanother Thehead closeobservation. artist's showsalltheessentialcharacteristics of thespecies:themajesticdimenbrow,puffy furrowed sions,triangular nose,andlarge cheeks,rectangular ears.Evenminordetails funnel-shaped fromtheknobby arewellrepresented, cirdesaroundthebaseof theantlers indicatedbytwistedgoldwireand aroundtheears to thepores repeated in thefleshof thenose.Thesenaturalof aswellasthetechnique isticfeatures, obthree-dimensional manufacturing halves, jectsbyjoiningtwohammered thatthe Egyptian is so essentially be attributed piecemustundoubtedly artlst. to an qgyptlan Thediademis alsoadornedwith headsof gazellesandlotusblossoms. Beginningin theOldKingdom, withpapyrusandlotus headbands worn werefrequently ornaments byEgyptianwomen.Thecombinationof marshflowersandhorned headshasa foreign desert-animal thatmaybestbe however, character, to thetasteof a Hyksos attributed clientwithstrongtiesto theCanaanite MiddleBronzeAgeculture. .

9. StagProtomefroma Diadem ca.I640I5-I6, Period, Dynasty Hyksos 37/6 in. h. of protome IS5O B.C. Gold; Wallace LilaAcheson (8.8 cm).Purchase, Gift,I968 (68.I36.I)

The Persianfallowdeer,Damv cameto Egyptbyway mesopotamica, of theSuezisthmusin thePleistocene

to. Headof a Canid,Possiblya Jackal LatePeriod,664-332B.C. Gypsumplaster; 1.2M2 in. (6.4 cm). RogersFund,I974 (I974264)

of wildcanids Theclassification jackal,Cvnis forinstancetheEgyptian lupaster, andthewilddog livingat themarginsof theEgyptiandesert causesproblemsevenforzoologists.It thatthe therefore, is not surprising, didnot distinguish ancientEgyptians canidspeciesin theirrepreparticular of gods,suchasthenecropsentations olisgodAnubis(seeno. 8);Duamutef, oneof thefoursonsof Horus;or thegodof Asyut,a town Wepwawet, in MiddleEgypt.Thissensitively modeledplasterheadcouldhave servedto depictanyof thesedeities. Theuseof plasterandtherough,unmodeledareaaroundtheearsindicate thattheheadwascastin a mold. hasshownthat Recentresearch Egyptianartistsuseda varietyof finely fortrial gradedplastermaterials piecesandfinishedworksof art.This smallheadis in a classwithOldKingheadsandthefamous dom"reserve" from New Kingdomplasterportraits studioatAmarna.In the anartist's moldcastingwas latterworkshop, alsopracticed.

II.

AnubisRecumbent

Dynasty26-27,664-404B.C. Saqqara, paintedblack(neck, originally Limestone, nose,leftear,rightleg,andpartof base Milton 1.25X4 in.(64cm).Adelaide restored); of thedeGroot deGrootFund,in memory I969(6g.Io5) andHawleyfamilies,

EgyptianartistsoftendepictedAnubis entirelyin animalformandin a pose To indicatingwatchfulguardianship. in theEgyptian thisday,in cemeteries desert,wilddogsguardingtheirterritoriesstretchoutin thesamealertpose asthispowerfilllimestonesculpture. figurewasexcavated The near-lifesize WalterB. by Britisharchaeologist Emeryin a templedepositat Saqqara, nearancientEgypt's thevastnecropolis Templeobjectswere capital,Memphis. gatheredandhiddenduringthevariousforeignraidson Memphis.It is not knownfromwhichtempletheAnubis statuecame.A LatePeriodsanctuary of Anubis,calledtheAnubieion, by oneof thenumerwassurrounded thatwere at Saqqara ouscemeteries dedicatedto theburialof specifically sacredanimals.

t2. PharaohSpearsa Lion 20lateDynasty Valley oftheKings, Thebes, Period,ca.II00ThirdIntermediate h. (ofstone) limestone; 700 B.C. Painted S. Edward 5/2 in. (I4 cm).Purchase, Gift,I926 (26.7.I453) Harkness

livedin aweof TheancientEgyptians thegreatfelines,andlionsespecially of astheembodiment wereregarded

.-:

;

power.A lionessdeity,forexample, in a MiddleKingdom wasaddressed textas"theGreat,whoseeyesare keenandwhoseclawsaresharp,the lionesswhoseesandcatchesby night."Thehuntingof lionswasa asshownin this royalprerogative, anddetailedsketchby an masterly whoadded Egyptiandraftsman, praiseto pharaohin floweryscripton thebackof thepiece.Flakesof the denseThebanlimestonewerethetraof scribesand ditional"notepaper" artistsin theNewKingdom.The handsareoftenthoseof master (seealsonos.3Sand63). draftsmen havestressedthatthislion Scholars doesnot standon thesamelevelas dog.As pharaohandhiswell-trained thelionembodiestheforcesof chaos, it belongsto a worldbeyondthe orderedrealmof theEgyptianking. Lionswerepartof the Egyptian faunauntilabouttwocenturiesago, periodsthey andin thepharaonic musthavebeenfairlycommon.They wellknownto herdswerecertainly menandhuntersasthemostdangerousanimalof thesteppe.Recentlythe

skeletal remains of adultaswellas younglionswerediscovered nearthe tombof theFirstDynasty kingHor Aha(ca.2960-2926 B.C.) atAbydos, MiddleEgypt clearevidence that fromthebeginning Egyptians kept captive lionsattheroyalcourt.Theremainsof a NewKingdom zoowere foundin theDeltapalaceof King Ramesses II(ca.I279-I2I3 B.C.) at Qantir. Lions,elephants, andhorned desertbeastshadbeenkeptin this menagerie.

Theartist's sketchof a royallion huntwasreportedly foundnearthe entrance to thetombofTutankhamun,whereit wasdiscarded byan artist,probably working in oneof the lateNewKingdom tombsnearby.

I3. RecumbentLion SaidtO befromGebelein, EarlyDynastic, ca.3000-2700 B.C. Quartz; h. 43/4 in. (I2 cm).Purchase, Fletcher FundandGuide Foundation Inc.Gift,I966 (66.99.2)

Theabstract form,lackof a base,and thewaythetailcurlsup acrossthe backof thisglowingfigureof a lion datesit to EarlyDynastictimes.It is a somewhatenigmaticmasterpiece, and scholarshaveproposed variousinterpretations. Theanimalhasbeenidentifiedasa manelessmalelion,a lioness,anda cub.Thislastis most likely.Noneof thehardstone sculpturesof powerfuladultlionsthatwere madearoundthesamedatematches theshorthead,over-large nose,soft

mouth,andgeneralfurriness of ears, paws,andbody.Thesefeatures, decidedlythoseof a younglion,mustbe readasintentionally reproduced characteristics of theanimalrepresented. It is diSlcultto explainthemeaning of a lion-cubsculpture in thecontext of Egyptianreligionandart,especiallyin thisearlyperiod.In ancient Egyptlionsusuallyrepresented the king.Therewasa famoustempleof thegoddessHathorat Gebelein, wherethequartzlionwasreportedly found.Beginningin earlytimes, Hathorwasnot onlythegoddessof lovebutalsoa celestialmotherdeity whoappeared asa cowsucklingthe kingandasa wildlioness.Isthequartz lionherson,theking? 17

I4. Amuletin the Formof a Seated Goddesswith LionHead

NewKingdomstatuesof Sakhmet, goddessof warandpestilence.On the beautiful,slenderbodyof a woman ThirdIntermediate Period,ca.I0707I2 B.C. Faience; h. 2/2 in. (6.scm).Purchase, sitsthemenacingheadof a lionessenEdward S. Harkness Gift,I926 (26.7.868) circledbythemaneof themale,which hadbecomea symbolof powerused regardless of gender.In herrighthand In Egyptianreligionliongodswere thegoddessholdsa sistrum,a musical lessprominentthanlionessdeities. instrument likea rattle.Thesistrum The femalesembodiedtheessence of supernatural powerandweremuch wasusedin performances thatwere believedto transform revered. However,it wasthegeneral thedangerous conceptof thelionessdeitythatwas Sakhmetinto Bastet,thecatgoddess, important, not themanynamesunder herbenigncounterpart. If Egyptians in theNewKingdom whichsheappeared. Thisoftenmakes it difflcultto distinguish iconographic- wouldcallthisgoddessSakhmet, allybetweenthevariouslionessdeities thoselivingin theThirdIntermediate n egyptlanart. andLatePeriodsoftenunderstood seatedfiguresof thelionessdeityto be The enthroned goddessof this intricateamuletcloselyresembles Wadjet,thegoddessof LowerEgypt, *

whoalsoappeared in theshapeof a cobra(seenos.48 and49). Believed to be endowedwithmagicpowers, thisWadjetin heramuleticroleis supported bya demonnamed Nehebkaw. He appearsin thelatticeworkon thesideof thegoddess's throneasa serpentwithhumanarms andlegs.Beforehimanotherlioness deityis seen,thisonestanding. Sincealllionessdeitieswereclosely relatedto thesungod,Re,thisamulet'sheadwasoncecrownedby a sun disk,possiblyof gildedbronzeorgold. It wasattachedby meansof a peg insertedintoa holedrilledbetween theanimal's ears.

In theMiddleKingdomthisbeliefled to thecustomof includingimagesof leopard headsin girdleswornby Malqata,DynastyI8, reignof Amenhotep III,ca. I390-I3S3 B.C. Egyptianalabaster; women.Thelargeheadsof thispiece 1.sAsin. (I3 cm).RogersFund,I9II (II.2IS.7IS) weremadein twohalveshammered fromsheetgoldandsolderedtogether. understood the Theinteriorspaceswerefilledwith TheancientEgyptians pebblesso thata rhythmicsoundwas leopard,Panthera pardus,andthe respectively, cheetah,Acinonyxjubatus, createdwhentheowner a princess verastheUpperandLowerEgyptian namedSithathoryunetwalkedor sionsof thesameanimal.It is theredanced.Thegirdlewasfoundwiththe Amulet I6. DoubleLeopard-Head thatnot all foreunderstandable richjewelryin an restof theprincess's froma Girdle clearly representations distinguished niche of herplundered undisturbed of Senwosret II,DynLahun,pyramid betweenthetwolargefelines.In this tombat Lahun.Thethreadthatheld B.C. Goldand astyI2, ca.I900-I840 handleof a cosmeticspoonthelong Rogers theelementstogetherhaddisinte1.IX4 in.(4 S cm).Purchase, amethyst; Gift,I9I6 (I6.I.6) indicates FundandHenryWalters neckof theanimalprobably grated,buteachpiecewaspainstakingis being celethatthecheetahis leap fromthesedimentbyone ly recovered brated.Thespoon,clearlya luxury headsandskins and,less Leopard archaeologists, Guy of theexpedition's item,wasfoundin the palaceof often,thoseof cheetahs servedas AftertheMuseumacquired Brunton. KingAmenhotepIII,oneof thegreat priestlygarments andwerebelievedto mostof thejewelryin I9I6, thegirdle huntersamongEgypt'spharaohs. rejuvenation andfertility. guarantee fromBrunton's sketches. wasrestrung IS. LargeFelineas Handleof a CosmeticSpoon

Bothleopards andcheetahswere commonin Egypt,astheywerein the restof Africaduringancienttimes. extinctin Egypt, Todaytheyarelargely havingbeenseenat thelastleopards century, of thetwentieth thebeginning arestillliving whereasrarecheetahs neartheLibyanborder.

a-Mw#-R

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:*k- ;SX ' <-,,

s X r

in a papyrus is expressed thedeceased Period of theThirdIntermediate B.C. EarlyDynastyI2, ca. I990-I900 (ca.I070-7I2 B.C.): "Ohcatof lapis h. S:/2in. (I4 cm). Egyptianalabaster; LilaAchesonWallaceGift,I990 Purchase, lazuli,greatof forms. . . mistressof (I990. S9 . I) house,grantthebeautheembalming teousWest[Landof the Dead]:in peace[abenediction]." catsdidnot appearin Domesticated wildcat Thisexquisitealabaster EgyptianartbeforetheMiddleKingthefierceandagile dom,andthenonlyin rareinstances, vividlycaptures Theartist buttheAfricanwildcat,Felissilvestris natureof analertpredator. hascombinedthebroadmusculature by represented libyca,wasalready andshorttailof theswampcatwith artistsduringtheOldKingdom,or at leastfromabout2250 B.C. onward. thestripedfurof E silvestris. Thecat forelegs sitslightlyon itshaunches, Thehabitatof thissolitarypredator to sprlng. W posltlon,reacWy withyellowfurandstripedmarkings ln a torwarc wasthesteppeandbrushat the marThereis nothingdomesticin thesmall headwithitserectears,wide-open ginsof thedesert,fromwhichit may muzzle.Thisis eyes,andwell-defined havemadeforaysintothewetlands beast,wellableto assist in searchof prey,suchasmice,birds, a dangerous livedanother thesungodagainsttheevilApophis. andfish.Inthemarshes forcosmeticor Toserveasa container wildcatspecies,theswampcat,E body,solid- medicinalointment,thealabaster chaus,whichhada heavier coloredfur,anda shorttail. formwashollowedoutuntil,in places, weregreatlyimit becameeggshellthin.A stonestopTheEgyptians prowess,espe- per(nowmissing)originally fit into pressedby thewildcat's ciallyits ferocityin fightingpoisonous theopeningbetweenthecat'sears.A snakes.Thisspecialtalentmadeit an of suchexquisiteferocity container helperof thesungod,Re, wouldsurelyhavelentpotencyto its appropriate in hisstruggleagainsttheApophis oil. contents,a perfumed of allevil. snake,theembodiment thesungodhimselfcould Sometimes evenappearin theshapeof the"great Thecat'sroleashelperof tomcat." I7. Wildcat

I8. Jerboas MiddleKingdom,lateDynastyI2 or DynastyI3) ca. I8SO-I6sO B.C. Faience; h. I%6 in. (3.I cm);I /6 in. (4.2 cm). EdwardS. HarknessGift,I926 Purchase, (26.7.900,

.90I)

jerboa(fromtheArabic TheEgyptian "fleshof lions"),Jacumeaning yarbu lusjaculus,is wellequippedforjumpingand,givenitssmallsize,canleap r . . . orS1X orseven cWlstance a surprlslng jerboassuchasthesehave feet.Faience beenfoundin a numberof Middle Kingdomtombs.A groupof three,of whichtwoaredepictedhere,was allegedlyfoundat Heliopolis,in the Delta,togetherwitha southeastern faiencefigureof a wildcatandthe magicrod(no.38).If thisis correct, strong thetombownerhadespecially beliefsin thepotencyof animals. Thejerboais usuallyrepresented sittinguprighton its hindlegs,its pawsraisedto itsmuzzle,whichis how manyrodentssitwheneating.It is alsopossiblethattheancientEgyptians thegestureaspraying interpreted voto thesolardeity.Usedasfunerary tives,thejerboasmayhaveservedto hopethathe thedeceased's strengthen orshewouldreacha newdayin comwiththesungod. panionship 21

I9. Genet Dynasty26-29, 664-380 B.C. Faience; 1.Ysin. (2.2cm).TheodoreM. Davis Collection,Bequestof TheodoreM. Davis, I9IS

depictedin theOld werefrequently This andearlyMiddleKingdoms. tinyfigureatteststo theirpresencein thefirstmillenniumB.C.

(30-8-8S9)

genetta,is a small The genet,Genetta relatedto the civet,Viverra carnivore civetta,butwithlesswell-developed usedartistic scentglands.Egyptians licenseto showthesmallspotted genet,likethewildcatandichneumon(ormongoose),stalkingbirds andotherpreyin papyrusthickets. Thegenet'sproperhabitat,however, wasthetallgrassandshrubsof the steppeandat thedesertmargins, whichit wouldleaveto huntin the as didthewildcatandthe marshes, Thegenetwassometimes ichneumon. tamedandkeptasa mouser.Today genetsareextinctin Egypt,butthey

SealAmuletsin the Shapeof Hedgehogs 20.

ca.ISS째LefttO right:NewKingdom, steatite(scrolldesignon I070 B.C. Glazed base);1.1/6 in. (I.8 cm).Dynasty26, withlonglegs (animal B.C. Faience 664-S2S onbase);1.%16in. (I.4 cm).Late [gazelle?] Dynasty26, 664-S2s B.C. Period,probably on base"the blue(inscribed Egyptian 1.13%6in. of BastetSi-mer-diw"); beloved Gould,I9I0 (2.I cm).Giftsof HelenMiller (I0. I30. 87I,

. 884,

. 882)

wereknown Twokindsof hedgehogs the desert to theancientEgyptians: aethiopicus, hedgehog,Paraechinus on theleftandrightin represented

andHemiechinus theillustration, auritus,whichhadlargerearsandis shownin thecenter.The firstof these speciesis nearlyextinctin Egypttoday butmusthavebeencommonin pharaonictimes.DuringtheOld Kingdom hedgehogs Parvechinus short-eared livedon thesteppeandat the desert edgein burrowsfromwhichthey emergedat dawnor duskto search formealsof insects,smallmice,and carrion.Eventodaythelarge-eared dwellsin thealluvial Hemiechinus landof theNile Delta. In Egyptianartdeserthedgehogs of thehunt arepartof representations in the desert.Theyaredepictedeither in cagebasketsamongthebootyor in in frontof thesteppeenvironment The latter dens. to their entrances the to thehedgecouldbe a reference hogs'habitof sleepingunderground

whenfoodis scarce.Theirreappearmaybe the anceafterlongabsences that belief basisforthe Egyptians' of life, therenewal heralded hedgehogs fortheirusein amulets. anexplanation Hedgehogamuletswerealsothought snakebites. to protectagainstpoisonous HemAmuletsshowingthelong-eared iechinusarelessfrequentthanthosein theshapeof thedeserthedgehog. 2I.

HareAmulet

PtolemaicPeriod,304-30 B.C. Faience; Fund,I944(44.4.z5) 1. I%8in. (3.5cm).Rogers

Amongthesmallanimalsof the Egyptiandesertis thedeserthare, Lepuscapensis.In ancienttimesit was worthypreyfor not considered princelyhunters,andin representaonlyoccasionally tionsit appears

amongthespoilsof thehunt.In manyhuntingscenes,however,it can aspart be foundin thebackground Thetombreliefof of thelandscape. (seeno. 2), forexample, Ra-m-kaj includesa desertharein muchthe samepositionastheonethatforms thisamulet.It croucheslowto the ground,earsflattened,intenton eludingthehunter'snotice.Thedesert fur(heretranshare'ssand-colored formedto anamuleticblue)servesit If detected,howwellascamouflage. ever,thehareusesits greatspeedto helpit to escape. Thehare'samuleticroleis not knownforcertain.AncientGreekand Romanauthorsbelievedthathares couldsleepwiththeireyesopenand withoutcopulation.If reproduce thesewerealsoEgyptianbeliefs,the

extreme haremighthaverepresented vigilanceor theprimevaldeity'sselfcreatingpower. 22. Hareas a Hieroglyph II, templeof Mentuhotep Deirel-Bahri, II, DynastyII, latereignof Mentuhotep 1.of limestone; ca.2040-tOIO B.C. Painted I1X6 in. (5cm).Giftof Egypt hieroglyph Fund,I907 (07.230.z) Exploration

Thisdetailof a relieffromKingMentempleat Deir tuhotepII'smortuary el-Bahriis a goodexampleof thecare withwhichEgyptianartistsrendered insignsin monumental hieroglyphic writing In thepictographic scriptions. systemof ancientEgypt,theharerepof consonants resentsthecombination wn andwasthususedin theimportant wordmeaning"tobe."

Wetlandsand

Waterways

withdanofphara- theirstrengthin encounters thebeginning considerable gerousanimalssuchascrocodilesor onichistory hippos;theycouldspearfishorcatch of theNile portions Egypt's Delta,modern ducksandgeesebydeftlyhurlingtheir throwsticks.Womencouldgather area,conpopulated mostdensely or Other flowersandpapyrusforadornment andmarshes. sistedof swamps pock- helphandlethecapturedbirds. asoccasional occurred wetlands the In religion,art,andliterature, southalongtheNileandin etsfarther the desert even more than marshlands, as known formation thegeological times andsteppe,cameto be endowedwith Inancient depression. theFayum Lovers of a paradise. thecharacter intothe drained thelakeatFayum Nileandmusthavebeenconsiderably likenedtheiramorouspursuitsto those of birdcatchersin papyrusthickets,a larger andlesssaltythanit istoday. in a New Kingdom grewinthese themeexpressed marsh vegetation Typical Egyptian lovesong: areas. Thefamous waterlogged head, than a man's grewhigher papyrus Thewildgoosesoarsandswoops, fora anidealenvironment providing It alightson thenet; of birds(bothindigenous multitude Manybirdsswarmabout, mammals. andaquatic andmigratory) I haveworkto do. of fish Therewasalsoanabundance I amheldfastbymylove, lifein theNileitandotheraquatic Alone,myheartmeetsyourheart, aswell canals, selfandintheirrigation FromyourbeautyI'llnotpart! of both the salt waters asinthe In templeritualsgodsandtheking andtheRedSea. Mediterranean tombinscription wereseenin theroleof marshland AnOldKingdom huntersdefeatingtheforcesof evil as thehuntin themarsh describes embodiedin thehippo,asexpressed on Paddling of theheart." a "delight thepapyrus in linesof ritualtextsuchasthese lightreedboatsthrough concerning thegod Horus: wasfor fishingandfowling, thickets, wayto a mostdesirable theEgyptians A happyday!I havecastmyharpoon andbeautyof therichness experience lustily! Heremencouldprove divinecreation. 24

A happyday!Myhandshavethemashead! teryofhis[thehippo's] I havecastatthecowsof the inwaterofeight hippopotami cubits. . . withmyrighthand, I havehurled I swungwithmyleft, does. Asa boldfen-man As a child,Horus,theskygodof kingship,wasbelievedto havebeen wherehis raisedin the marshes, mother,Isis,hidhimagainsttheevil Seth,whohadkilledHorus'sfather, Osiris.Suchritualsandmythsexplain whyimagesof thehuntin themarshes werefavoritethemesof tombreliefs pharaonic andpaintingsthroughout history.In essencesuchscenesserved assymbolsforthepowerof natureto a cyclein renewitselfconstantly, whicheachEgyptianwishedto parviewersof marsh ticipate.Present-day scenesin ancientEgyptianartshould realizethattheydo not seenaturalisdepictionsbutidealized tic landscape throughtheirkeen images.However, senseforrealisticdetail,Egyptian artistsmanagedtO capturemuchof beautifulfloraandfauna thecountry's mythical landscapes. in the

* ;

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OldKingdomartistsdepictedthe ottercatchingfishin thepapyrus thicket.DuringtheLatePeriodand Ptolemaic timesottersin bronzestatuettessuchasthisonewererepresentedstanding,forepaws raised,atop smallbronzeboxes.As in thecaseof baboons,theraisedpawsof theotter is a poseof adoration beforethesun godwhenhe risesin themorning. Thegreathymnto Atenbeautifully expresses thisdailyoccasionforprayer ancbreJolclng: *

Earthbrightens whenyoudawnin lightland WhenyoushineasAtenof daytime; Asyoudispelthedark, Asyoucastyourrays, TheTwoLandsarein festivity. Awaketheystandon theirfeet, Youhaverousedthem; Bodiescleansed,clothed, Theirarmsadoreyourappearance.

In mythotterswereattachedto the goddessof LowerEgypt,Wadjet, whosecultwascenteredin Buto,in thenorthernDelta.Theanimalmay havebeencommonon theshoresof nearbyLakeBurullus.

v '

23. Otter

PtolemaicPeriod,304-30 B.C. Bronze; h. I73/8 in. (44 cm). Giftof LilyS. Place, I9 23 (23.6.2)

.o.

='^'l*s

scenes,richwithplantand marshland waspartof birdlife.Ourfragment DynastyI8, reignofAmenhotep Malqata, thisborderfromroomE.ThemarshIII,ca.I390-I353 B.C. Stuccowithblue, (upper- landhunterwasomittedin thispaintgreen,yellow,andbrownpigments topof ducEshead, mostedge,including ing;it wasenoughthattheking 20/2 X I6X4 in. (S2x 42.scm). restored); himselfwasableto strideacrossthe Fund,I920 (20.2.2) Rogers pavementasmasterof themarshland paradise. In thisfragmentof the Malqata On thewestbankof theNile oppositeThebes(Luxor),KingAmenhotep floorpainting,a duckis seenamong marsh of an unidentified thebranches IIIandQueenTiyeresidedin a vast palacein thedesert,nearthepresent- plantbesidearchingstemsof papyrus. breedin Manytypesof waterfowl The floor dayvillagecalledMalqata. Africaand hall"in thispalace Europe,Asia,andnorthern of a large"audience winterin Egypt.Thisoneis sketched wascoveredwithstucco,andon it in profile,its head,body,andlegs Egyptianartistspainteda largepool outlinedin blackandred.Blacklines withfish,plants,andswimming definethe of varyingthicknesses the birds.At theborderssurrounding on its neckandflanks;the feathering poolwerepaintedbrightlycolored 26 24. StuccoPavementFragment

curvinglinesgivethebirda fullness thatis furtherenhancedby thepecuof blueand liarpatchydistribution ocherpaint.Throughthiscombinaandpainting, tionof draftsmanship theartisthascapturedtheessenceof theduck:its headpulledgracefully backfromthefullcrop,its heavy bodyis caughtin motion,walkingon widelyspacedlegswiththeducEs gait. typicallyawkward On closerstudyit becomesapparentthattheheavybirdcouldnever reston theflimsyleavesandbranches it. of themarshplantthatsurrounds Boththeshrubandneighboring papyrus,createdentirelywithbold seemto strokesof thepaintbrush, forthebird. serveonlyasbackground

2s. Fragment froma TempleRelief Deirel-Bahri,DynastyII, latereignof MentuhotepII, ca. 2040-20I0 B.C. Painted limestone;IS X I3 in. (38 X 33 cm). Giftof EgyptExploration Fund,I906 (06.I23I.I)

The birdson thisfragment arecaught in a clapnetsetby thefowlersof King Mentuhotep II.Themeshof thenet appears in yellow-white paintagainst thebirds'bodies.Someof theentrappedwaterfowl sit quietly,perhaps notyetrealizing theirplight,while othersflyup,attempting to escape. Theleftuppermost birdcouldbe a European coot.The otherbirdscould

be curlewsandgullsorshovelers. Manysuchwaterfowl arecommon winterguestsin Egypt,although theybreedin Europe,Asia,andother partsof northern Africa.In nature shovelers havegreenishnecksandare otherwise white,black,andblue-gray. Cootsareblack,andcurlewsaremostly brownish. Gullscanbe a number of colors,fromwhiteto brownto gray, dependingon thespecies.Thebrown andyellowpaintin theMentuhotep reliefwasmostprobably added duringa restoration of thetemplein DynastyI9. Theoriginalpaintmay wellhavebeencloserto thebirds'real

colors.Thebackground wasoriginally bluewater. Thefragment camefromoneof themanyreliefsthatoncedecorated thecolumnedporticoesandhallsof Mentuhotep II'smortuary temple. ThiskingreunitedEgyptafterthe periodof disunitycalledthe First Intermediate Period.Histemple's innovative terracearchitecture influencedEgyptianarchitecture forcenturiesto come,whilethevastwall reliefsreflectedthein-depthstudies of Old Kingdomreliefsmadebythe king'sartists.

26. CosmeticContainersin the Shapeof Mallards

27. PerfumeVesselin the Shapeof TwoTrussedDucks

DynastyI8, ca.I400-I300 B .C. Tinted ivory;h. 3%6 in. (9 cm);3X4 in. (9-5 cm). Rogers Fund,I940 (40.2.2, .3)

MiddleKingdom, probably lateDynasty I2I3, ca.I800-I65O B.C. Anhydrite; h. 6X4 in. (I7 cm).Giftof Edward S. Harkness, I927 (27.9

.I)

of thebirds,too slenderto support theirheavyheads,arearchedoverto formhandles.Witha raretouchof sentiment,theartisthasmadethe birds'necksseemto givewayto the neckof thevesselbetweenthemin whatcanonlybe calleda gestureof

Thesedelicateivoryboxesarein the sacrltlclal suDmlsslon. shapeof mallards, Anasplatryrhynchos,Skilledcraftsmen, probably working thathavebeenprepared asofferings, somewhere in MiddleEgypt,used Anhydrite is a rare,semitranslucent stone,lightmauveorfaintlyblue,and withthefeatherspluckedfromtheir anhydrite to sculptvesselsforcosbythewayit takesa is characterized wingsandbodies.Onlythebirds'ele- meticingredients. Of thosethatsurhighpolish.In theearlyMiddleKingvive,theMuseum's trussed-duck gantheadsandgracefully curving necksretaintheblackfeathering and vesselis undoubtedly themostbeauquarrymen discovered a domEgyptian in themountains to sourceof anhydrite whiteneckringtypicalof thisspecies. tiful.The twoducksareprepared of theeasternEgyptiandesert,which The artisthascarefully carvedwebbed be offeredto a deityin a waysimilar thesourceforthestone to theivorymallards (no.26),buthere wasprobably feeton theunderside of eachconusedhere. tainer.Someof thewaterfowl caught theartisthasusedthetwobodies in netswerekeptin enclosures and mostingeniously to forma single lenticular flask,translating thejointsof fattened,althoughno duckspecies thebird'slegsintofourlittleknuckles wastotallydomesticated in ancient forthevesselto standon.The necks Egypt. *o

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29. Hieroglyphic Sign Showing an Ibis (HermopolisMagna), El-Ashmunein PtolemaicPeriod,304-30 B.C. Polychrome cm). Purchase, faience;h. 6X8in. (IS*S EdwardS. HarknessGift,I926 (26.7.992) This exquisite relief inlay shows a sacred ibis, Threskiornis aethiopica, walking atop the crossbar of a standard that identifies it as a deity. Its beak is supported by a feather, signifying supreme order (maat). The ibis was associated with Thoth, the god of wisdom, whose primary sanctuary was located in Hermopolis Magna, Middle Egypt, where the inlay was found. It was one of several that belonged to elaborate wooden shrines erected to

28. Statuetteof Thoth PtolemaicPeriod,304-30 B.C. Faience; h. SS2in. (I4 cm). Purchase,EdwardS. HarknessGift, I926 (26.7.860)

faiencestatuette Thisturquoise-colored is a beautifulexampleof theskillwith whichEgyptianartistscombinedanimalheadsandhumanbodiesto create in thiscase creatures, totallyconvincing god,Thoth. theibis-headed

housestatuesof deities.Thisexample It repwaspartof a largeinscription. signthatcould resentsa hieroglyphic be usedat theendof thewordhb or to writethe for"ibis") (Egyptian ("Thoth"). Djehuty name Thesacredibis,whichhasnot beenseenin EgyptsinceaboutI876, waslargerthanrelatedspeciesnow livingin centralandsouthernAfrica. Hugeflocksoncecameto Egyptfrom Ethiopiato breedin thewetlands duringtheannualNile flood.The sacredibishasa whitebodyanda blackheadandneck.The inlayuses thewhiteareas greento represent becausegreenis thecolorof vegetationandfertility.

blythetitularkingof UpperEgypt, Painedjem I, who, ashighpriestof Amun,hadbeenresponsible forthe reburial of severalroyalmummies. On Nany'spapyrus, whichwasfound rolledup at thesideof hermummy, theheronappears flankedbyhername andwitha groupof solardeities. 3I.

Museum in thearmlets of Queen Hetepheres, mother of KingKhufu (ca.255I-2528 B.C.). Theamuletic meaning of theseinsectsis not known.

Butterflies

Lisht,northerncemetery,DynastyI2-I3, ca. I970-I640 B.C. Faience. Left:1.Y6in. (I-Scm). RogersFundandEdwardS. HarknessGift,I922 (zZ.I.I394). Upper right:1.1M6 in. (I.8 cm). RogersFund,I9Is (IS.3.sI3). Bottom:1.I)l6in. (2.4 cm). Rogers Fund,I9IS(IS3 SI2) 30. Heron WesternThebes,tomb6s (burialof Nany), Dynasty2I, reignof PsusennesI, I040992 B.C. Drawingon papyrus; h. of papyrus (overall)I4%8 in. (37 cm). RogersFund,I930 (30.3.32)

In Egyptheronsareyear-round residentsin theNile Deltaandalongthe RedSeacoastandannualwinter guestsin thewholecountry.The birdsmigratefromEurope,Asia,and otherpartsof Africa.Judgingbythe frequency withwhichthesemagnificentbirds,withtheirornamental crests,aredepicted,Egyptians must havelovedthem.It is not surprising, therefore, to findoneamongthecreaturesdepictedon a funerarypapyrus suchasthis,foundbytheMuseum's excavators in Thebesin thespringof I929. The ancientEgyptians believed thattheirkingascendedto heaven in theformof thecrestedbird,and artistsalsooftendepictedthelegendaryphoenixasa heron.In everydaylifetheseavianexpertsin fishing wereusedbyfowlersasdecoysto lure otherbirdsintothenets. Thepapyrusbelongedto theking's daughter Nany,thechantress ofAmun, at herdeathanelderlywomanof considerable girth.Herfatherwasproba-

Butterflies areamongthemost charming of thesmallwingedcreaturesdepictedin Egyptianmarsh scenes.Theseamuletstypifythe Egyptianartists'approach to butterfly representations. The artistsalmost invariably choseto showthemfrom above,thecolorfulwingsspreadopen. Butterflies werefrequently usedto decorate jewelryin ancientEgypt. Amongthemostbeautifillexamples arethedetailedinlaysin theCairo

32.

DragonfliesandDamselflies

Lisht,northerncemetery,DynastyI2-I3, ca. I970-I640 B.C. Faience. Upperleft (piercedtransversely underwings):1.4 in. (I.9 cm). RogersFundandEdward S. HarknessGift,I922 (22.I.285). Right (piercedtransversely underwings): . 4 in. (I.9 cm). RogersFund,I9IS (Is.3.sI9).Bottom(piercedvertically): 1.1M6 in. (I.8 cm). RogersFund,I9IS (IS-3

* SI4)

Althoughrepresentations of fourwingedinsectsin marshscenesand amuletshavebeenidentifiedas bothdragonflies andgrasshoppers in flight,thefirstinterpretation is more convincing.Dragonflies anddamselfliesfeedon themuch-dreaded mosquitoandits larvae,a servicethe ancientEgyptians musthaveappreciated.Thismayaccountin partfortheir appealasamulets.Thefinestamulets clearlydefinetheinsect'sfourwings, asdo twoof these. 31

33. Crocodile LateIStcenturys.c.-early IStcenturyA.D. Granite(tailmissing);1.42/2 in. (I08 cm). The BernardandAudreyAronson Purchase, TrustGift,in memoryof her Charitable Aronson,I992 belovedhusband,Bernard (I992.I3)

Crocodylus crocodile, Thisgranite late in a relatively sculpted niloticus, art,is a fineblend periodof Egyptian stylizaandexpressive of naturalism onceswamandfed tion.Crocodiles onitsbanksin in theriverandbasked

greatnumbers,buttoday,likethe from hippo,theyhavedisappeared Egyptnorthof Aswan,whilein the newLakeNassertheyseemto be thrivingagain.Althoughtheancient somewhatwhimsically Egyptians face," calledthecrocodile"wrinkle withoutdoubtthesereptileswerethe of their creatures mostdangerous countryanda constantthreatto the peopleandtheirlivestock.Traveling by boat,crossingthewaterways withherds,or bathingin theriverput thelivesof men,women,andanimals

at risk.Beingsucha strongadversary, played thecrocodilenot surprisingly a promlnentroe ln egyptlanmaglc. An earlyMiddleKingdomstorytells of a magicianwhoformeda small crocodileof waxandthrewit intothe water.Thewaxfigurewastransformed intoa lifesizereptile,whichdevoured adulterous theloverof themagician's wife.Thedeityrelatedto thecrocodilewasthegodSobek,whowasvenin theFayumregion. eratedprimarily

34 Hippo B.C. MiddleKingdom,ca. I900-I650 1.of base,33X6 in. (8 cm). Aragonite; RogersFund,I920 (20.2.25)

3S Hippo DynDeirel-Bahri,areaof causeways, astyI8, ca. I473-I425 B.C. Paintingon x 4 in. (I2 X limestone;stone41M6 I0.5 cm). RogersFund,I923 (23.3.6)

Hippopotamus Thehippopotamus, musthavebeenverycomamphibius, monin Egyptduringtheearlierperi-

F ,

is.

ods,butman'shuntingpursuitsand on the encroachment ever-increasing graduhippo'swetlandenvironment allyreducedthenumberof these beasts.Thelastwildhipmagnificent poswereseenin Egyptin the first halfof thenineteenthcentury. werewell TheancientEgyptians strengthof awareof thephenomenal whichartistscapthehippopotamus, thehugeunsegturedbyemphasizing mentedbody,asin thisfigurefrom theMiddleKingdom.Boldstrokesof thicklyappliedbrownandblackpaint

redon thebellyand anda dangerous eyeachievea similareffectin the sketchfromDynastyI8. The artist's aweinspiredbyananimalthatcould fieldsovernight a farmer's devastate belief wastemperedbytheEgyptians' power.Asa revitalizing in theanimal's fromthefertilemud,the creature hippoembodieddivinepowersguaranteeingrebirth.Onemightrecognize aspectof thebeast thisbenevolent in thefriendlyfacesof manyhippo figures.

' *v.S ' !.

t-., sW''. s.w

M. Davis,I9IS (30.8.86I). Frog:New B.C. Faience Kingdom,ca. ISSO-IO79/69 (pierced);1./16 in. (I.I cm). Giftof Helen MillerGould,I9I0 (IO.I30.I9I8)

36. Turtle DynastyI2, ca. I99I-I783 B.C. Rockcrystal inlaidwith amethyst,turquoise,redjasper, andlapislazuli;1.IlA6in. (4.7 cm).Purchase, EdwardS. HarknessGift,I926 (26 7tI359)

theAfrican TotheancientEgyptians, waterturtle,Trionyxtriunguis,like mayhaveseemed manyotheranimals, Beingan a dualcharacter. to possess deep,theturtle of theshadowy animal andthus cosmicdanger embodied butitspower annihilated, wasritually couldalsobemadetoworkto theadoffevil. of peoplebywarding vantage Thispowermadeturtlespotentamulets,threeofwhichareshownhere(at Thelarge,widerightandopposite). served turtle(opposite) eyedalabaster dish,protectasa coverfora cosmetic ln a slmlaramuetlc lngt zecontents function. *

37. Frogs andToads Backrowfromleft tO right:Frogon a lotus pad:DynastyI8, ca. I55O-I300 B.C. Bronze in. (2 cm). Rogers (possiblya weight);h. I3M6 Dynasty26Fund,I970 (I970.I97). Toad(?): susB.C. Lapis lazuli(horizontal 29, 664-380 pensiontubeandverticalpiercefrombelow, peg[?])ih. I in. (2.s cm). to accommodate Giftof DariusOgdenMills,I904 (o4.2.378).

aswellasin thealluIn themarshes, viallandwhentheannualflood of watershadreceded,thousands theirdeep-throated frogsappeared, chorusfillingthenightair,asthey continueto do todayon thebanksof assotheNile.The ancientEgyptians of ciatedthesemusicalamphibians thefertilemudwithcreation,birth, Amuletsin the Frog:Dynasty26-29, 664-380 B.C. Chlorite andregeneration. h. I3M6 in. (2 cm). Gift (piercedhorizontally); imageof frogsandtoads,suchas of HelenMillerGould,I9I0 (IO.I30.I928). these,werepopular."IamtheresurToad(?):Dynasty26-29, 664-380 B.C. canbe foundwrittenon the rection" h. IM6 in. Faience(piercedhorizontally); of suchfrogfigureseven underside (I.8 cm). Gift of HelenMillerGould,I9I0 fromearlyChristiantimes. (IO.I30.I92I) In thesmallamuleticfiguresit not alwayseasyto distinguish is Frontrow,left tO right:Frog:DynastyI9, betweentheEgyptianfrog,Rana ca. I295-II86 B.C. Redporphyry(pierced 1.IS6in. (2 cm). Purchase, horizontally); andthetoad,Bufo mascareniensis, EdwardS. HarknessGift,I926 (26.7.II43). or B. viridis,whichhasa regularis Treefrog(?):New Kingdom,ca. ISS째shorterfaceandknobbyskinon its B.C. Faience(smallloop in front); I079/69 back.The treefrog,Hylasavignyi, 1.Y6in. (IS cm). Purchase,EdwardS. in oneof the possiblyrepresented Frog: HarknessGift,I926 (26.7.I028). row, is rarein the front in amulets B.C. DynastyI9-20, ca. I295-I079/69 Egypt. lotusand Serpentinite(piercedhorizontally; birdon base);1.Y6in. (I Scm).Theodore M. DavisCollection,Bequestof Theodore

W: L pF

in ancientEgyptasblanketson which offerings werepresented or asrugson whichkingskneltin prayer. Themat heredefinesa consecrated zonein whichthecosmiceventof thesolar triumphoverevilis beingmagically enacted.Theobjectformedpartof a burialasa guarantee of rebirth.It mayhavebeenfoundat Heliopolis, thecenterof Egypt'ssolarworship.

Thisremarkable pieceepitomizes Egyptianbeliefsabouttheuniverse andthesymbolicroleof certainaniLatet)ynasty I2-I3, ca.I850-I650 B.C. lionssymbolize Glazedsteatite; 1.II in. (28 cm).Purchase, mals.Outward-facing Edward S. Harkness Gift,I926 thetwomoundsof theEgyptian (26.7.I27S) horizonbetweenwhichthesunrises in its dailyrenewedactof creation. According to Egyptianbeliefsthe Thiscomplexobjectconsistsof a tripartite stafflikebaseandsevenindi- sunhasenemiesandhelpersin the struggleagainstthenightlychaos. vidualfiguresof animals.Thesegasan enemy mentsof thebasearehollow;originally Theturtleoftenappears butheremayrepresent there-creative theywereprobably joinedbypegs. powersof thedeep,whilefelines,crocThe beautifully craftedlittleanimals odiles,andfrogortoaddeitiesare areattachedbymeansof pinsthat knownhelpersof thesun.Baboons fitholeson theundersides of the tendinglampsandbeneficial eyeemanimalsandin thebase.Previous publications haveshownthisrod,the blems(wedjat) protectthecornersof theworld.Thefaceof a leopard(not best-preserved exampleof itskind, withtheanimalsfacingtowardthe visiblehere)is carvedat eachendof center.A recentexamination, therod. howTherectangular basetakesthe ever,revealed thattheoutlinesof each animal,clearlypreserved on thebase, formof a reedmatwithcrossbindings.Suchmatswerecommonlyused faceoutward. 38. Toads,Frogs,andotherAnimals on a MagicRod

39. Turtles Fromleft to right:New Kingdom, ca. I55O-I300 B.C. Carnelian; 1.Ysin. (2.2 cm). Gift of HelenMillerGould,I9I0 (IO.I30.2397). SecondIntermediate Period, ca. I65O-I55O B.C. Quartzandhematite; 1.1M6 in. (2 cm). Giftof HelenMiller Gould,I9I0 (IO.I30.2398). Dynastyo, ca. 3I00-2900 B.C. Alabaster; 1.2lS6in. (6.8 cm). Purchase, NinaWalker Wainwright andBeatriceAppelGifts,I980 (I980.

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40. Fishin a Canal II, DynastyI9, reignof Ramesses El-Qantir, ca.I279-I2I3 B.C. Detailof polychrome faiencetile;h. 7X8 in. (20 cm).Purchase, Gift, S. Harkness Fund,Edward Rogers I93S (35.I.IO4) I922, I929, andbyexchange,

causedthepopWhiletheEgyptians to ulationsof somewatercreatures diminishbyhuntingandencroaching otherspecies on theirenvironments, in man-madecanalsand flourished ditches.In thescenedeirrigation pictedon thistile,whatcouldbe an famfish(Mormyridve elephant-snout ily)swimsbetweenthelotusesin a byotherwaterplants. canalbordered Fishof thisfamilylivenearthebottom waterways of muddy,slow-moving andwouldhavebeenrightat homein an ancientcanal.In typicalEgyptian combines manner,therepresentation a planof thecanalbetweenits two banksandprofileviewsof theplants andfish.

Thistileis oneof a groupof decoelementsthought rativearchitectural II'sprivate to haveadornedRamesses in his easternDelta apartments Piramesse. residence, 4I.

MolluskShells

Left:Cowrie.Lisht,northerncemetery, neartombendosure758,DynastyI2-I3, B.C. Gold;1. in. (I-Scm). ca. I990-I65O Right: RogersFund,I909 (O9.I80.I200). Bivalveshell.LishtNorth,tomb754, late DynastyI2, ca. I85O-I800 B.C. Gold;1.I in. (2vScm). RogersFund,I907 (07.227.I8) %8

times,actualmolSinceprehistoric as luskshellswereusedbyEgyptians andwerefashobjectsof adornment and ionedintocosmeticcontainers palettes.Shellformswere painters' in goldandsilver. alsoreproduced Thistypeof jewelrywasespecially duringtheMiddleKingprevalent dom,whenthetwoshellsshownhere weremade.The smalleroneis a cowrieshell,whilethelargeris an unidentifiedbivalve.Cowriesarethoughtto havebeenfertilitysymbolsandwere oftenpartof women'sgirdles(butsee no. I6, whereleopardheadsareused insteadof cowries),whereasbivalves werewornbybothsexes,eitherasa singlependanton a chainor threador strungwithothershellsto forma necklace.

- ,l hofER

Dish in the Shapeof a Bolti (Fish) 42.

Dynasty I8, reignof TuthmosisIII, ca. I479-I425 B.C. Glazed steatite;1.7S8 in. (I8.I cm). Giftof JamesDouglas, I890 (90.6.24)

Fish ofthegenusTilapiv (boltiin Egypt today)is themostcommon fish ofEgypt, easilyrecognized byits long dorsal fin.Itsmannerof reproduction,

hatching itseggsin its mouth, was metic substances. Thepieceis too interpreted bytheancientEgyptians large, as however, a of spontaneous to havebeenusedas kind generation. an ordinary In cosmeticpaletteandwas Egyptian art,the Tibpivthussymprobably made fortempleuse forexbolized therenewalof life.The fish ample, to was anointa cultstatue orfor also thoughtto be a companion a royal burial. of the Thecartouche sungod. ofTuthmosis III below This the lateralfinsuggests fish-shaped dishhasthekind that the dish of was a shallow gift to orfromthis depression on its reverse pharaoh. (below) thatwasgenerally usedforthe preparation andpresentation of cos-

The

ancienttimes,asnow,the reliedontheNilefor Egyptians The mostof life'snecessities. supa continuous riverprovided plyofwaterin a landof littlerain.It sedinutrient-rich alsodeposited mentsalongitslengtheachyearfor ofyears.Itwashere,on thousands land,thattheEgyptians thealluvial and livestock; crops;raised planted andcities. builttheirhouses,villages, of theAswan Untiltheerection withthefamous dams,culminating HighDambuiltin theI960S, the was landscape of thealluvial nature bytheannual determined primarily Thefloodsoriginated inundation. andsouthhighlands in theEthiopian monernSudanwiththesummer started in Egypt soons;inJulytheriver andthefloodwaters to risequickly, landfrom mostof thealluvial covered By to lateSeptember. mid-August whenthe andNovember, October cropscouldbe hadreceded, waters to fromJanuary sownforharvesting a systemof April.Basinirrigation, fields, canalsanddamsenclosing and theavailability producincreased tlvltyorwatertortarmlng. In

Alluvial

Land

andhereandtherein the margins anddecidevergreen Deltasupported were that shrubs trees and uous byrainsandthe sporadically watered of highground These"islands" river. wereidealforhumansettlements. of theamountofhuman Because lifeonthe muchoftheanimal activity, but landwasdomesticated, alluvial mamsmall especially wildcreatures, birds,andinsects, mals,amphibians, with foundroomto coexisthappily aniandtheirdomesticated humans WhofloodsthefieldsthatRehas of thealluvial mals.Thewildanimals made landmadetheirnestsanddensin the Tonourishallwhothirst. . . lineand areasabovethehigh-water Lawful,timely,he comesforth forfoodin thefloodplain, foraged FillingEgypt,SouthandNorth, thedesert. andoccasionally marshes, As onedrinks,alleyesareon him, theenof thesemovements, Because Whomakeshisbountyoverflow. described of someanimals vironments land to thealluvial hereasbelonging times,however,agriIn pharaonic or the marsh of with those overlapped considerably were activities cultural true Thisis especially steppe-desert. lessextensivethantheyaretoday. Egyptians The insects. and forbirds Largetractsof the alluviallandwere tendingtheir whether leftunplowed,usedonlyforseasonal themselves, theirfields,followed herdsorworking grazing.In thesouthernregionof moving MiddleEgyptduringtheearlyMiddle theriseandfallof theriver, to highareasduringthe theiranimals Kingdom,therewassufficientwoodoutoverthelow landto providetimberforshipbuild- floodandspreading duringtherestof theyear. ground ing.Thehighgroundat thedesert

societyof pharaIn the agricultural onicEgypta lowfloodmeantfamine, andtoo muchwaterbroughtthedanwiththefields gerof overflooding, too wetto workduringtheplanting floodwasgreeted season.A "perfect" withgreatjoy."Themeadows[are] laughingwhentheriverbanksare flooded,"saysa textin oneof the Old anda Kingdompyramidchambers, popularhymnto theNile god (Hapy) praiseshimastheone

of shrew,Crociduraflavescensdeltae isoftendepicted inthepapyrus thicket andC.nana,butit isdiffilcult todeter- pursuing birds. Theanimal's truehabiminewhichisrepresented inthissmall tats,however, areshrubby terrain, bronze figure. rockyhills,andtheopenareasatthe edgesof Egypt's cultivated land. "Thevoracious" wastheancient Ichneumon killsnakes andmiceand Egyptians' namefortheshrew, an are sometimes tamed and keptfor 44. Ichneumon epithetthataptlydescribes thefeedthispurpose. Thisbronze ichneumon PtolemaicPeriod,304-30 B.C. Bronze inghabitsof thistinyanimal. In strides between tWO small seatedcats, (inscribedon base:"Wadjet givinglife to ancient Egyptian popular mythology Pedineith,son of Isemkhebi"); suggestlng a rellglous connectlon 1.41/6 in. theshrewwascloselyassociated with todeitiesresiding inthe"catcity," (I2 cm). Gift of DariusOgdenMills,I904 theichneumon. TheshrewrepreBubastis. The goddess of Bubastis, (o4O2-6S4) sentedtheblindaspectof a solardeity Bastet, wassometimes identified with whosecomplement, endowed with LiketheAfrican wildcat andthe Wadjet, goddess of Lower Egypt,to keeneyesight, wasunderstood to be genet,theEgyptian mongoose, Hewpes- whomtheinscription onthebaseof theichneumon. Egypthastwospecies tesichneumon, alsocalledpharaohXs rat, theichneumon figureis addressed. 43. Shrew

PtolemaicPeriod,304-30 B.C. Bronze; 1.3S8in. (8 cm). Giftof DariusOgden Mills,I904 (o4.2.465)

/jj

4Se

Cat

Saqqara, PtolemaicPeriod,304-30 B.C. Bronze(hollow,castin two parts);h. II in. (28cm). HarrisBrisbaneDick Fund,I956 (56.I6.I)

TheearliestEgyptiancatswerewild predators thatroamedthesteppesand marshes(no.I7). In therefinedurban cultureof theNewKingdomcatsbecameincreasingly attachedto humans, whoprobably firstappreciated their mouse-hunting skillsbutsooncameto enjoythesecreatures aspleasantcompanionsaroundthehouse.Egyptian housecatswereconsiderably larger thanmoderndomesticated cats,which zoologistsbelieveoriginated in the ancientNearEast. Of thesethreecatfigures,thetwo fromtheLatePeriodconveythecat's companionable, attractive personality. ThelargedignifiedPtolemaic figurea masterpiece of bronzecasting- once servedasa container fora catmummy. Burialsof mummified catswerepart of ritualsperformed in honorof the goddessBastet.Allthreeanimalsare characterized assacredby thejewelry incisedorcarvedaroundtheirnecks. Thelargebronzecatandthesmall faienceonewearelaborate collarswith pendantsin theshapeof a beneficial eyeemblem,wedjat, whilethesmall bronzecat'swedjat pendanthangs froma simplechain.Thelargecat's rightearis piercedto holda gold ring,nowlost.

46.

Cat

LatePeriod,Dynasty26-29, 664-380 B.C. Bronze(solidcast);1.Il3M6 in. (4.7 cm). Gift of J. Lionberger Davis,I966 (66.I23.2)

Cat

LatePeriod,Dynasty26-29, 664-380 B.C. Faience;h. IM6 in. (2.3 cm). Bequestof Mary AnnaPalmerDraper,I9IS (I5.43.26) 41

48. CobraHeads Left:LateDynastyI8, ca.I400-I300 B.C. Faience; 1.4g4 in. (I0.8 cm).Giftof Helen MillerGould,I9I0 (IO.I30.2S84). Right: Thebes,Valleyof theKings,tombof Amenhotep III,Dynasty I8, ca.I3S3 B.C. Faience; 1.2S6 in. (S 3 cm).Purchase, Edward S. Harkness Gift,I926 (26.7.II22)

In thetombof Tutankhamun a gilded woodenshrineshieldedthecanopic chestcontaining theking'sorgans.The

shrinestoodundera protective canopy,alsoof gildedwood,guardedby fourfiguresof goddesses. Bothcanopy andshrineweresurmounted bycavettocornicesdecorated withcontinuous friezesof cobrafigures. Thecobras wereof gildedwoodinlaidwithrichly coloredglassandfaience.Soliddark bluesnakeheadswerefastenedto the tongue-shaped upperendsof thecobra bodies(seedrawingbelow).The monumentstruckHowardCarter,

excavator of Tutankhamun's tomb,as "solovelythatit madeonegaspwith wonderandadmiration." Thesetwocobraheadsof shinyblue faiencewereoriginally partof similar tombfurniture. Thesmallerof thetwo headswasfoundin thetombof Tutankhamun's ancestor AmenhotepIII. It indicatesthatAmenhotep's burial onceboastedan equallystunning monument.

Detailfroma cobrafriezecrowningthe canopicshrineof KingTutankhamun (ca.I327 B.C.). Drawingby BarryGirsh

49. Cobraon PharaohXs Forehead Deirel-Bahri, templeof Mentuhotep II, Dynasty II, latereign of Mentuhotep II, ca.2040-20I0 B.C. Painted limestone; stoneh. 9%2 in. (24 cm).Giftof Egypt Exploration Fund,I906 (06.I23I.37)

Cobras,thebestknownof Egypt's manysnakes,arealsoamongthemost impressive. Theirraisedthreatposture andthewaysomeof thespeciesspit venomarethoroughly intimidating. TheancientEgyptians wereso fascinatedbythesebehaviors thatthey adoptedthecobraasa mythicalsnake. The uraeus,asit wascalledin Greek, saton theforeheads of pharaohs and guardedtheroofsof holyshrineswith .

awe-lnsplrlng

aggresslveness.

Thisfragment fromthemortuary templeof KingMentuhotep II shows theuraeusabovethepharaoWs foreheadtwistingitsbodyaroundthe diademasif it wereliving.Although onlyoneEgyptiancobraspecies,Naja nigricollis, ratherthanthemorecommonN. haje,actuallyspits,boththis behavior andthethreatposturewere ascribed to themythicaluraeus. A MiddleKingdomtaleconveys theterrorEgyptians feltwhenconfrontedbydangerous snakes.According to the story,a sailorwasstranded on a desertedisland.Aftereatinghis fillof fishandvegetables, whichwere plentifulthere,he madeanofferingof thanksto thegodsforhissurvival. Justthen,ashe narrates, he hearda "thundering noiseandthought,'Itis thesea.'Treessplintered, theground trembled. Uncovering myface,I found it wasa snakethatwascoming.He wasof thirtycubits[aboutS째 feet]; hisbeardwasovertwocubits[3M2 feet] long.His bodywasoverlaid with gold;hiseyebrows wereof reallapis lazuli.He wasbentup in front.... I wason mybellybeforehim."The storyendshappily,however, withthe snakehelpingthesailortO gethome.

''--

50. Falcon Probably fromHeliopolis, Dynasty 30, reignof Nectanebo II,360-343 B.C. Graywacke (inscribed onthebasewiththe king'snames); h. 28%8 in. (72 cm).Rogers Fund,I934 (34-2-I)

TheancientEgyptians believedtheir kingwasan incarnation of thesky god,Horus,whoappeared asa falcon. Oneof themostpotentimages expressing thisbeliefis thisfalcon statueof KingNectaneboII,withits intensefacialexpression andvicious claws.In theirrepresentations of HorusEgyptian artistsdepicteda generalized falcon,ratherthananyone particular species,eventhoughEgypt is hometo several. The Lannerfalcon, Falcobiarmicus, andtheperegrine, E peregrinus, forexample, stillnest andbreedin thelimestonecliffsat the desertmarginandin theruinsand pyramids. Thebirdscanbe seenrisingon updrafts of hot desertair andperforming amazingaerobatics. Thesculpture followstheLate Periodtraditionof animalimagesin hardstone (seeno. 5)withremarkably naturalistic detailsin headandfeet,

whilethebodyandwingsaresimplifiedrenderings of thebird'snatural features. The imageof a birdand royalfiguretogethercanbe readasa rebusforNakhthorheb, theEgyptian formof oneof theking'snames:NakAt fromthescimitarthekingholds;hor, thebird;andheb(thefeast),thesign in theking'srighthand. SI. Swallow PtolemaicPeriod,304-30 B.C. Limestone; h. 31/G in. (9.4 cm). RogersFund,I907 (07.228.g)

ThelinearoasisalongtheNile thatis Egypthasalwayshada richvarietyof smallbirds,includingswallows.Migratoryswallows fromnorthern climes passthroughEgyptduringthespring andfall,whereasotherspeciesare year-round residents. Theswallow's migratory habitswerecarefully observed by theancientEgyptians andinterpreted asa signof regeneration.In anancientlovepoemthe swallow, whoheraldsthemorning,is encountered bya youngwomanreturningfroma trystwithherlover:

Thevoiceof theswallowis speaking. It says: Daybreaks, whatis yourpath? [Thegirlanswers:] Don't,littlebird! Areyouscoldingme? I foundmyloveron hisbed, Andmyheartwassweetto excess.

In Egyptianarttheindividual membersof theswallowfamilywere not differentiated. Thislimestone reliefpresentsa trulylovableimageof thebird,standingon well-articulated legswithanexpression thatis both comicalanddignified.Thepiecebelongsto a groupof reliefsandsculpturesthathaveoftenbeenidentified assculptors' modelsbecausemany of themincludegridlinesandother tracesof theartist's technique. The raisedangleplatein theupperleft corner,forexample,mightbe an item of thiskind. In recenttimes,however, most scholarspreferto interpret theseobjectsasex-votos,orvotiveobjects,and in thiscase,theimageof theswallow mighthavebeendedicatedto thesun godorthegoddessIsis.Thebirdis closelyconnectedwithbothdeities. 45

52.

VultureandCobra

PtolemaicPeriod,304-30 B.C. Limestonerelief;h. 6Ysin. (I7vScm). Giftof J. PierpontMorgan,I9II (II.Ii5.I2)

Likethefalcon,thevulture,Egypt's largestbird,liveshighin thelimestonecliffsandsoarsoverthedesert andalluviallandin searchof food. Ancientartistsdepictedboththegrifand,lessoften, finvulture,Gypsfillaus, trv, Aegypius the lappet-facedvulture of Mut,godasincarnations cheliotus, dessandconsortof Amun,and Nekhbet,goddessof theroyalcrown head of UpperEgypt.Thevulture's forthe andwingsservedasinspiration of Egyptianqueens,and headdress imagesof themajesticbirdadorned theceilingsof templesandpalaces. In thisreliefNekhbetasa griff^ln vultureis theheraldicfigureof Upper Egypt,leadingthecobra,whichrepresentsLowerEgypt.Thevultureand theserpentbothappearto standon 46

wickerbaskets,butthisshouldnot be The basketsarehierotakenliterally. and or "lady," glyphicsignsfor"lord" the identifies thewholeconfiguration as neby,the"twoladies." twocreatures The ladiesin questionarethetitular goddessesof UpperandLowerEgypt, whosenamesarepartof everypharaolfsname.Thisis anotherexample of Ptolemaicreliefplaquesthatserved modelsorasvotives eitherassculptors' (seeno. SI). Thisplaqueis alsocarved

wheretheimageof a on thereverse, falconappears.

53 Hoopoe on DynastyI9, ca.I295-II86 B.C. Drawing I4S8 in. (36 cm).Gift papyrus; h. of papyrus I93s(35.9.I9) of Edward S. Harkness,

The Egyptianhoopoe,Upupv epops, andbeauwithits colorfulfeathering tifulheadcrest,is stillcommonin Egypt.In theOldKingdomhoopoes werecaughtto be petsforchildren.In thepapyrusdrawingthebirdsitsatop plantandis idena stylizedpapyrus(?) textas "he tifiedin theaccompanying whosemagicis hidden."Thisis an if NineteenthDynasty aptdescription Egyptfollowedthepracticereported frommuchlatertimes,whenpartsof thebird'sbody theheart,head,and blood playeda rolein magicpractices(thirdto eighthcenturyA.D.).

54. Bee LishtSouth,pyramidtempleof SenwosretI, DynastyI2, reignof SenwosretI, ca. I97II926 B.C. Detailfroma paintedlimestone relief;h. of bee 6S4 in. (I6 cm). Rogers Fund,I909 (09.I80.64)

Thisbeautifulcarvedimageof a bee functionedasa hieroglyphic ideogram for"thekingof LowerEgypt."Originally,it waspartof a monumental inscription adorning thepyramid temple of KingSenwosret I. TheEgyptian honeybee,Apismellificafasciatv,was domesticated in EarlyDynastictimes, if not before.Beeswereusuallykept in terracotta pipesthatservedas beehives,whichwerestackedin rowsone abovetheother.Afterdrivingout the beeswithsmoke,muchasbeekeepers do today,thefarmers removedthe honeycombs andextracted thehoney, which,alongwithdatemash,wasthe malnsweetener ln anclenttlmes. Beeswax wasalsoan important sub.

in thisreliefplaque,is a residentof Egypt.It nestsin trees,buildings,and ruinsandhuntsbynight.Thebird's mostcnaracterlstlc teature,ltSlmpressivefacialdisk,invariably prompted Egyptianartiststo choosea frontal viewwhenrepresenting it. Therelief belongsto thesamegroupof objects astheswallowreliefandthevulture andcobrapiece(nos.Stand52). As is thecasefortherestof thegroup,its interpretation is stillunderdiscussion. Isit a votiveobjectora sculptor's model?Asan ex-voto,theimageof an owlmightappropriately havebeen dedicated to a solardeity.Owls,called "keen-sighted hunters," werealso believedto be birdsof mourningand death.Asa model,thisreliefdemonstratesthemostintricatepartof the letterm (acompleteowl),andin fact owlsarerarelydepictedin Egyptian artexceptasthishieroglyphic sign. .

stance, widelyusedinadhesives, metalcasting, andotherprocesses. 55.BarnOwl PtolemaicPeriod,304-30 B.C. Limestone relief;h. 4/6 in. (I0.4 cm). RogersFund, I907

(07.228tII)

Thebarnowl,TytovIba,whosehead isdepicted withunforgettable clarity

56. Fly Dynasty26-29, 664-380 B.C. Faience(?); of MaryAnna . 7/6 in. (I.2 cm).Bequest (I5.43.47) I9I5 Draper, Palmer

s7 Flies Left:DynastyI3-I7, ca.I783-I550 B.C. Edward Ivory;1.27/6 in. (6.3 cm).Purchase, Gift,I926 (26.7.I285). Right: S. Harkness EarlyDynastyI8, ca.I550-I525 B.C. Glazed forQueen on underside steatite(inscribed 1. in. (I.3 cm).Giftof Helen Ahhotep); MillerGould,I9I0 (IO.I30.I68) /2

58. MosquitoDeity Dynasty26-29, 664-380 B.C. Green-and1.I%6 in. (3 cm).Gift jasper; whitebanded I9 5 5 (55.I72) of CyrilAldred,

The flywhisksthatEgyptianartists and depictedin thehandsof pharaohs of how noblesarepotentreminders irksomethehostsof flieswerein anclentEgypt.TheanclentEgyptlans, seemedto haveheldfliesin however, becauseof highesteem,presumably thisinsect'spowersof fastreaction insistentpresence. andindomitable, I8 (ca.I550in Dynasty Beginning oftenmadeof pendants, fly I295 B.C.), gold,weregivenby thekingasmilitaryawardsforvalor,andtheamulets of the shownmaywellbe reminders Theglazed officialgold"medals." steatiteflyis inscribedon theundersidewiththenameof QueenAhhotep, motherof kingsKamoseandAhmose, .

whofinallydefeatedtheHyksos. flyamuletsmayalsohaveserved Earlier to wardoff theseannoyinginsects. in these Theactualfliesrepresented amuletsaredifficult,if not impossible,to identifybyspecies.Among theinsectsshownhere,thesteatite andfaiencepiecesareunmistakably flies,andthesomewhatlargerivory pieceseemsto be a stylizedfly,probablya replicaof thegoldenaward jasper pieces.Thegreen-and-white insectlooksmorelikea mosquito its identity,this thana fly.Whatever jasperamulethasa falconheadand wearsthedoublecrownof Upper andLowerEgypt.In thisguisetheinsecthasbecomea deitywithroyal attributes. Evidenceof mosquitonetsbeing usedstronglysuggeststhatmosquitoes wereasmucha nuisancein theancient worldastheycanbe today.TheGreek whotraveledin writerHerodotus, Egyptin about445-440B.C., reported thatpeopleusedfishingnetsagainst whilein UpperEgypt mosquitoes, theyslepton hightowers(perhaps meaningthe roofsof multistory houses).An actualframeto supporta finelinennettingovera bed,made longbeforethetimeof Herodotus, wasfoundwiththeburialequipment motherof of QueenHetepheres, Khufu(ca.255I-2528 B.C.).

Thisrathersinisterhornedcreature amulets,whichcouldthusbe usedas the rhinoceros seals.To be readilyandquiteliterally seemsto represent I3, I2-earlyDynasty Left:LateDynasty whichis Orystes nascicarnis, beetle, perthese were such as scarabs at hand, steatite (scroll B.C. Glazed ca.I800-I750 1.Y8 in. (2.2 cm). motifonunderside); region. andfittedasbezels nativeto theMediterranean foratedhorizontally Gift,I926 S. Harkness Edward Purchase, that Thesmallbronzesarcophagus intoringsof goldorotherprecious I9, ca.I295Right:Dynasty (26.7.7I3). it guardsoncehelda beetlemummy, metals. inscripsteatite(enigmatic II86 B.C. Glazed of the same thoughnot necessarily 1.t3/l6in. (I.7 cm). tiononunderside); as beetles, In embalming species. Gift,I926 S. Harkness Edward Purchase, the in all animalmummification, 60. Beetle (26.7.352) and Late Period of the Egyptians PtolemaicPeriod,304-30 B.C. Bronze; PtolemaicandRomantimesgave of thescarab,ScaraThe importance h. 23/8 in. (6 cm). Purchase,EdwardS. tangibleformto theirbeliefthatall HarknessGift,I926 (26.7.855) re.1baeussacer,ln anclent egyptlan animals,largeandsmall,wereincargionwasbasedon carefulobservation nationsof thedivine.Religioustexts The of its behavior. andinterpretation u v r: fromother fromEgyptandparallels scarabbeetlerollsanimaldungto indicate Africancultures,moreover, formballsthatareoftenmanytimes asinbe understood could that insects itssize.Thescarabbothfeedsfrom soul,"meanan "external corporating theseballsandlayseggsin them.For ingthoseinnerforcesof humansand theimageof thedung theEgyptians deitiesthatarecapableof leavingthe stronghind ballmovedbythescarab's body.In an OldKingdomtext,for fortherising legsbecamea metaphor example,thekingwassaidto ascend sun,andthebeetlewasadoptedas to heavenin theformof a grasshopper. one of the mostpotentsymbolsof 59. Scarabs

;

i 5

. 0 ;<;:

resurrectlon.

Startingin theearlyMiddleKingthe domandcontinuingthroughout history,imageswere restof pharaonic of scarab intotheundersides engraved 49

6I.

Stablewith FattenedLonghorns

Western Thebes,tombof Meketra, early DynastyI2, ca.I990-I980 B.C. Gessoed and painted wood;1.2852 in. (72.scm).Rogers FundandEdward S. Harkness Gift,I920 (20.3.9)

TheanclentEgyptlans wereverysuccessfulcattlebreeders. In theirsociety andeconomycattleplayedan importantrole,andnumerous varieties were raised.Somewerelonghornedand longlegged;theygrazedin theopen countryin herdscomprising many hundreds of animalsand,underthe careof attentiveherdsmen, were movedfromplaceto placeaccording to a seasonalschedule.Othershad longhornsandshortlegs;oftencastrated,theywereraisedandfattened in stables.Therewerealsovarieties withshorthorns,no horns,orartificiallydeformedhorns,aswellaszebu, anAsiaticox imported fromtheLevant duringDynastyI8 (ca.I55O-I295 B.C.). In thisminiature representation of a stable,twocompartments areconnectedbya door.In thebackroom, whichin reallifeprobably hada roof, threecattleanda calf(orhornless *

cow)arefeedingfroma longtrough, whilein theothercompartment, mostlikelyanopencourtyard, two cattlearefedfroma heapof fodder.A guard,armedwitha spear,sitsbythe entranceto thecourtyard. The black, brown,andspottedcattlearevery sturdilybuiltandclearlyfattened. Thestablewasoneof twenty-two miniatures foundwithtwolargestatuesof womenin a smallchambercut intotherockin thetombof thechancellorMeketra atThebes(Luxor). Theyhadbeenuntouchedsincethe dayof theirburial."Thebeamof light shotintoa littleworldof fourthousandyearsago,"wroteMuseumcurator HerbertE.Winlock,whodiscovered thiscachein oneof archaeology's most memorable moments.

62. FarmerPlowing EarlyDynasty I2, ca.I990-I900 B.C. Painted wood;1.I952 in. (49-S cm).Giftof Valdemar Hammer Jr.,in memory of his father, I936 (36.S)

whichis pulledby twoveryfriendly lookingoxen.Thefarmer's feethave sunkintothemuddyearth,whichis probably stillwaterlogged fromthe annualinundation, buttheanimals seemto be on dryerground.Toown cattlewasa signof highstandingfora peasantin ancientEgypt;plowoxen usuallyhadto be rentedfroma large stateor templeinstitution.Evenif the oxenwerenot actuallyownedbythe plowman,however, an exceptionally strongbondcouldexistbetweenman andanimals.A taleof theNewKingdomtellsof a youngmanwhoworked on hisolderbrother's farmandlived so closelywiththecattlethathe could understand theirlanguage. When theolderbrothersetout to killthe younger,becausetheelder'swifeasthewifeof Potiphar hadaccused theyoungerbrother of tryingto seduce her,thecattlewarnedhimin timefor himto escape.

Thepeasanttrudgesbehindthetraditionalhook-shaped plowof Egypt, 51

bullsarehighlyagitated; theirtailsare tensely curved, they are defecating, DynastyI9-20, ca.I295-I070 B.C. Painting andthevisibleeyeof theattacking onlimestone; stone7g4 X 49%6 in. (I8.5 X II.5 cm).Rogers Fund,I924 (24.2.27) bullisturnedupward. Wildbullsstillroamed themargins Byallowingbullsto fight,Egyptian of theDeltain theNewKingdom, herdsmencoulddetermine whichwas andKingRamesses III(ca.II84thestrongerandconsequently more II53 B.C.) felledsomeenormous indisuitableforbreeding.Bullsfighting, viduals in a reedthicket, according to therefore, wasa frequentoccurrence a depiction onthepylonofhismortuamongtheherds.ForEgyptianartists arytempleatMedinet Habu,Thebes. 63. FightingBulls

the fightswereinteresting subjects.In thistrialsketch,thedraftsman captureda momentof highdrama.One of thepowerfulbeastshasthrownthe otherontoits frontlegsto attackits abdomenwithpointedhorns.Both

64.

RestingCattle

Dynasty26-29, 664-380 B.C. Gold; 1.(each)/2 in. (I.25 cm).TheodoreM. Davis Collection,Bequestof TheodoreM. Davis, I9I5

(30.8.405,

.406)

Thesesmallshort-horned bovines seemto be resting,chewingtheircud. Thehollowfiguresweremadebyhammeringsheetsof goldto formtheanimals'bodies,addingthehornsand feet,andfusingthewholeontosmall ovalbaseswithnotchededges.As twoof sevencelestialcowswhoprovidednourishment forthedeceased in the beyond,thelittleanimalsmay havebeenpartof a richperson's burial equipment, adorning a pieceof jewelry or anelaborate vessel.

65. Bllll's Leg

66. Apis Bllll

Abydos,DynastyI-2, ca. 2960-2649 B.C. Ivory;h. 6/2 in. (I6.Scm);RogersFund,

Dynasty26-29, 664-380 B.C. Ivory(base modern);h. 2X6 in. (6.I cm). Giftof J. PierpontMorgan,I9I7 (I7.I90.62)

I906

(06.II62.I)

In EarlyDynasticEgyptlowbedsand stools,likeotherfurniture of high quality,includedivorypartssuchas bulls'legs.Usingananimal's legfor thelegof a pieceof furniture hadreliglOUS slgnltlcance relatlngto thegreat strengthandgenerative powerof the animal.Thebullwasalsoa symbol fortheEgyptianking,especially in theEarlyDynasticperiod,androyal furniture maywellhavebeenthefirst to be fittedoutwithsuchlegs. In makingsetsof legs,Egyptian artistsalwaysdistinguished hindand forelegs,oftenalsotherightandleft, andpositionedthemon thepieceof furnitureaccordingly. Asseenhere, thelegshadtenonson top thatfit intothehorizontal frameof thebedor stool.Leatherthongswerethreaded throughthetwoholesbelowthetenon to securethelegto theframe.Allfurniturelegsin bull's-leg shapeterminatedin beadedcylinders thatkept thetenderhoovesoffthe dirtyfloor. ThisleRfrontlegfroma bedor stoolis theworkof a masterjoiner whowasalsoanaccomplished sculptor.Theanimal's musculature and .

Oneof themostimportant animal deitiesof ancientEgyptwasthe sacredApisbull,whoseworshipis attestedfromDynastyI. Nearthe Ptahtempleat Memphis,Egypt'sold capital,a livingrepresentative of the Apisbullwasstabled.He wasparaded out at testlveoccaslonsto partlclpate in ceremonies of fertilityandregeneration.Thebullthatplayedthisimportantrolewasselectedfordisplaying colorpatterns, suchasa whitetriangle on theforehead andblackpatches resembling wingedbirdson thebody. In theivoryfigurethewhitetriangleis indicatedbya sunkenareaon the head,whileengravings of a vulture withwingsspreadanda wingedscarab flankanelaborate blanketon theback. WhenApisbullsdied,theywere andburiedwithallhonors. skinaredelicately differentiated from embalmed Beginning withthereignof King thesmoothhoof,andthetautveins areexpressive enoughto evokethrough AmenhotepIIIin DynastyI8, the thisbodyparttheimageof theentire placeof Apisburialswasa hugeand growingunderground systemof strong,highlytensedanimal.Theleg chambers calledtheSerapeum in the maywellhavebeenpartof a king's Memphitenecropolis, Saqqara. The bedorchairbecauseit wasfoundat mothers of Apis bulls had their own Abydosin oneof thetombsof the cultandburialplace. firstkingsof Egypt. r

67. Donkey Deirel-Bahri,areaof causeways, DynastyI8, ca. I473-I425 B.C. Drawingon limestone; drawing2X6 X 2%8in. (6.3 X 6.7 cm). Rogers Fund,I923 (23.3.8)

Sinceat leastthefourthmillennium B.C., ever-patient donkeyshavecarriedheavyloadsandhelpedfarmers by treadingseedsintothegroundand threshinggrain.The artistwhocreatedthissmallcharacter studyovera proportional gridon a limestonechip hascapturedtheexpression of a typicallyobstinatedonkey.Aroundthe donkey's neckis a redstripedband.An animalwithblackstripedfur(acator leopard?) wasdrawnbelowthedonkey'sheadto theright,butthemain portionof thiscreature is nowbroken oS. It appears thatthesketchcomes froma largerimageillustrating a fable involvinganassanda feline.Onesuch storyfromthesecondcenturyA.D. tells of a lionwhowantsto findout the natureof man.Amongotheranimals, thelionencounters a horseanddonkeythataretetheredto a chariot.The lionasks,"Whodidthisto you?"They answer,"Ourlord,man,hasdone it.... Thereis nothingmorecunning 54

thanman."Wilddonkeyswerestill instancesof camelboneshavebeen livingin theEgyptiandesertduring recorded, althoughsomearedoubtful thefirstpartof thenineteenth century. asto dateandidentification, and therearea fewfigurinesandfigure vesselsof camelspreserved from 68. Headof a Camel pharaonic times.Byandlarge,howThebes,LowerAsasifcemeteryarea, ever,thecamelremained an oddityin PtolemaicPeriod,304-30 B.C. or later. Egyptianeyes.It wasonlywiththe Terracotta withwhiteslip;h. IlS6in. (Scm). invasionof theAssyrian armyin the RogersFund,I932(32.3.343) seventhcenturyB.C. thatpeoplein the The ancientEgyptians knewabout Nilevalleymetthecamelasa domestheexistenceof thedromedary (or ticatedbeastof burden.Ittookanother one-humped) camel,Camelus drome- fourcenturies to introduce thedomesdarius,at leastsinceEarlyDynastic ticatedcamelto Egypt,whereit was tlmes..nvarlous^gyptlansltesrare destinedto becomeoneof thecountry'smostfamiliar sights.Onlyrecently haveautomobiles andfarmmachines begunto supersede theanimal. Thissmallterracotta headis unpretentious butskillfullymodeled.It is thelivingimageof a camel,head helddisdainfully upright,theprotrudingeyesgazingintothefardistance,whilethesoftmuzzleseemstO be caughtin a chewingmotion.It mightbe a portraitof oneof the camelsof today,whichcanbe seen liftingtheirheadsoverfarmhouse wallsneartheexactspotwherethis littleterracotta piecewasfoundby theMuseum's excavators in I9IS-I6. *

horseformedthetop of a comb,its teethnowmostlymissing.Thishorse DynastyI9, possiblyreignof RamessesII, is somewhatnervously feedingfroma ca. I279-I2I3 B.C. Ivory;w. I%8 in. (3-5 cm). Purchase,EdwardS. HarknessGift,I926 trough.In thedrawing,a fewmas(26.7.I290) terlybrushlinescapturean elegant, well-groomed horsewearinga bridle, 70. Horse rubbingitsleftforelegplayfully with Thebes,tombof Nespekashuty, Dynasty26, its gracefulmuzzle.Themotifis 664-6I0 B.C. Drawing on limestone; drawing knownfroma lateDynastyI8 relief 4 X 3 in. (I0.2 X 7.6 cm). RogersFund,I923 fromAmarna.It is possiblethatthis (23.3.33) sketchis a copyof a NewKingdom representation thatinterested thispar7I. Horse ticular artist at a time when many Thebes,DynastyI8, ca. I400 B.C. Tinted OldandNew Kingdomworksof art ivory,glass(?)inlayin lefteye;1.SYg in. were copiedforreusein Dynasty26 (IScm). Purchase,EdwardS. Harkness tombs. Gift,I926 (26-7-I293) Thelargerivoryhorse,whichonce adorneda whiphandle,is shownin Thehorseis a relative latecomer to the Egyptian menagerie. Theearliest whatscholarscalltheflyinggallop.Its skeleshinycoatis beautifully rendered with tonfoundin theNilevalleymaydate to theseventeenth centuryB.C. In a lightbrowntint;themane,tail, ancientliterature andreliefart,horses muzzle,andlowerlegs,aswellasa firstappeared in connectionwiththe stripeon theback,arein darkbrown. expulsionof theAsiaticrulers,the Thelefteyestill retainsits glassy inlay,whichbeautifully captures its andanefflcientvehicleforhunting. Hyksos,whichoccurred fromthelate Horseback riding,however, remained shiningeagerness. Seventeenth to theearlyEighteenth Theanimal's head presses againstitscurvedneck,a pose Dynasty(ca.ISSo B.C.). Afterthe dea rarityuntilPtolemaic times. Thesethreerepresentations capture oftenusedin depictionsof horsesin featof the Hyksosthehorse-drawn chariotbecamethe predominant thetraitstheancientEgyptians most the mid-Eighteenth Dynasty. fightingmachineof Egypt's military, valuedin a horse:speed,elegance, andgoodmanners. Thesmallivory theofficialconveyance of herkings, 69. Horse

ram,withits brilThismagnificent glaze,wasmade liantblue-and-green art.It is latein thehistoryof Egyptian saidto havebeenfoundin thecapitalof theFayumoasis,Crocodilopolis togetherwith (Medinetel-Fayum), twobeautifulfaiencemasksin Roman style.Allthreeobjectsweremostprobablyvotivesto a sanctuary. The ramcanbe identifiedas Ovis basedon the foraegyptiaca, platyura hornsandthickfleece. ward-bending into firstintroduced was species The EgyptfromwesternAsiaaround2000 and B.C. Duringthe Old Kingdom earlier,anothersheepspecies,O. waslivingin palaeoaegyptiaca, Iongipes theNilevalley.Thisspecieshadlong, horns(seefig.2) spiraling horizontally andlentitspowerfulshapeto a numberof Egyptiangods,thecreatorgod, Khnum,beingperhapsthe mostimbecause0. portantof them.Probably hadlongerfleece,it quickly platyura afterthebegin0. Iongipes superseded ningof theMiddleKingdom. rambecameoneof Theplatyura themostsacredanimalsin Egypt withthegod throughitsassociation Amun,who,asAmun-Re,wasthe supremedeityduringthe country's This New Kingdomandafterward. faienceramis bendingitS headover whatat firstglanceseemsto be a manger,buton closerinspectionis actuallya lotusblossom.Vesselsin 74. Ram usedto flowerformwerefrequently Medinetel-Fayum,RomanImperialPeriod, presentofferingsto gods.Amun in. h. 41M6 2ndcenturyA.D. Faience; probably is thusthetrue anoffiering receiving EdwardS. HarknessGift, (I2cm). Purchase, subjectof thisfaiencemasterpiece. I9 26 (26 .7.IOI9)

asa skygoddessNut wasdescribed werethestars.The sowwhosechildren factthatsowsareknownto eattheir asa parallel pigletswasunderstood of stars. to theriseanddisappearance here Amuletsliketheoneillustrated of thegreat wererepresentations mothergoddessandguaranteed fertility. Thelittlewoodenfigureof a young made.Its pigis simplybutcarefully 72. Sow Amulet roundhead,snubnose,andtheblack Dynasty26-29, 664-380 B.C. Faience; stripesalongits backarethe unmish. I%6 in. (3 cm).GiftofJ. Pierpont of thesuckling takablecharacteristics I9I7 (I7-I94-2243) Morgan, care. pig,objectof theherdsman's Thefigurewasfoundat themouthof tombshaftof Yuy,a theplundered greatmanandvizier,wholivedat the endof theMiddleKingdom.It is to explainthepig'spresence diffilcult amongburialequipmentat a time whenwoodenmodelsof peasants, andthelikewereno stables,granaries, longerin fashion.Yuy'stombwassitlater uatedwhereQueenHatshepsut to hertempleof erectedthecauseway Deirel-Bahri.It is possible,therefore, thelittlepigfiguredidnot belong that 73. YoungPig to Yuyat allbutwasa poorman'sgift Thebes,foundnearthetombof Western whose to Hathorof Deirel-Bahri, I3(?),ca.I700thevizierYuy,LateDynasty brown shrinebesideHatshepsut's Woodwithreddish templewas I650 B.C. orlater. 1.I%6 in. andblackpaint(leftlegmissing); theNew muchvisitedthroughout (4cm).RogersFund,I926 (26.3.352) Kingdom. in Egyptfrom Pigsweredomesticated a wildspecies,Sus scrofa, beforethe fifthmillenniumB.C. Duringpharaonictimes,porkwasoneof thestaple foods,andpigswerekeptin herdson everylargefarm,oftengrazingin the opensteppe.Pigswerenot highlyregarded,however,andthosewho tendedthemwerereviledasdirty,althoughan Old Kingdomtombrelief lovinglyfeeding showsa herdsman a smallpigfromhisownmouth.The tabooon pigmeatevolvedslowly,and withtheevilSethnotassociations pigsalsohada favorable withstanding, roleto playin Egyptianmyths.The 56

Basedon thenonalignment of the linesof thedog'sincisedcollar,anadLateDynasty I8, I400-I350 B.C. Ivory, tintedredinsidemouthandblackaround ditionaldrillholeunderthethroat,and eyesandonundersides ofpaws(tailmissing); thepresence of twosetsof cavitiesin. 73/8 in. (I8.6 cm).Rogers Fund,I940 sidetheupperjawto accommodate (40.2.I) theprotruding lowerfrontteeth,it appearsthatthejawleverwasoriginally fixedlowerdownon thechest.The Thisleapingdogis a masterpiece of Egyptiananimalsculpture. artistorhisclientdidnotliketheorigIt is shownin a sortof grand jete',its full inalshapeof themouthandreposibodyweightthrownforward, every tionedit, afterwhichhe hadto drilla musclestraining. Becausethelower newholein theneckanda newcavity jawcanbe openedandclosedby in theupperjaw.Thedrillholesprobmeansof theleverunderthebelly, ablyservedaschannels fora stringthat thepiecehasbeencalleda mechanical controlled theangleof themoveable toy.Thereare,however, seriousreliawwnenlt wasln ltSopenposltlon. giousimplications to theimageof a leapingdog.Theartist's sketch(no.I2), 76. CrouchingDog forexample,showsa dogin analmost DynastyI8, ca. I550-I295 B.C. Ivory; identicalposebesidethepharaohas . 3 1%6 in. (9.7 cm). Gift of HelenMiller he fightsa lion,which,in thiscontext, Gould,I9I0 (IO.I30.2520) embodiesevilforces.Associations of a leapingdogwiththepharaoWs mythi- Egyptians werecloselyattachedto calroleasthefoeof chaosandevil theirdogs,whichservedashunting suggestthattheivorypiecewaspartof royalburialequipment andfunctioned asa magicalobject.If thisis thecase, judgingfromitsstrikingly naturalistic style,it mostlikelybelongedto the burialofAmenhotep III. Theexceptional pieceshowsunmistakable signsof an alteration that tookplacein antiquity, probably shortlyaftertheworkwasfinished. 7S Pharaohis HuntingDog

andwatchdogs, statussymbols,and companions. Aboutseventydognames areknownfromtextsandinscriptions. Theybearstrikingresemblance to the namesgivenmodernpets from Ebony,Blacky,andTrustytO Son-ofthe-Moon,North-wind, Good-forNothing,and,moresimply,TheFifth orTheSixth.Theearliestbreed(see no. 2) haduprightearsanda curled tail.A laterbreedhadlop earsanda straighttail.Therewereotherkinds, includinga typeof dachshund. Thissmall,crouching dogis a fine exampleof theEgyptianartist's ability tO convey ananimalthrougha fewfeatures.Itsheavyheadrestslightlyon pawsfoldedovereachother:thepictureof a faithfuldogawaitingitsmaster.Manydogburialshavebeenfound in Egypt,somewithstelebearingthe animal's nameorwitha sarcophagus, andat leastoneEighteenth Dynasty leatherdogcollarhassurvived.

77. Mouse DynastyI8, ca. I550-I295 B.C. Ivory; . 2%6 in. (6.5cm). RogersFund,I9 (44M4M55)

79. (Oppositetop)Vesselin the Shapeof a Monkey DynastyI8, ca. I550-I295 B.C. Faience; h. 2 7/6 in. (6.5cm). RogersFund,I974 (I974-97)

78. Rator SpinyMouse WesternThebes,DynastyI8, ca. I473stone6X4x I458 B.C. Drawingon limestone; Gift, I93I X IO cm). Anonymous 31%6 in. (I7 (3I *4 2)

It is not clearwhichmouseor rat speciestheartistshadin mindwhen theycreatedthesetsvorepresentaEgyptwas tions.Theratof pharaonic niloticus nilothegrassrat,Arvicanthis ticus.ThehouseratarrivedfromAsia period.Two afterthepharaonic speciesof micedatingto pharaonic timeshavebeenidentifiedfromanimalbones:theEgyptianspinymouse, andthehouse Acomys cahirinus, Thespiny mouse,Musmusculus. senta housemouse,whereasthe creature mouseis a scrubby-looking drawingon limestonecould masterly knownto havelivedon therocky be a spinymouseor a grassrat.The in greatnumislandof Elephantine of a sketch drawingis on thereverse bers,whilethehousemouse,which showingtwoprofilesof Senenmut, theDelta therenownedstewardof Queen hasa smoothcoat,preferred Thesmallexquisiteivory margins. makingthisanearly Hatshepsut, piece,whichis hollowedon oneside exampleof theartof political to serveasa cosmeticdish,mayrepre- caricature.

At leastonespeciesof monkey,Ceraethiops, survivedin the copithecus wildin ancientEgyptuntiltheMiddle Kingdom,butmonkeyshavealso alwaysbeenimportedfromEthiopia andSomaliaandkeptasentertaining by theladies especially companions, of thehouse.In wallpaintingsand monkeysaredepictedin the elsewhere lady'sboudoir,playingassheput on hermakeup.Theyarealsoshown to harvestdatesand busily"helping" figs.Thenaughtymonkeyseenhere maywellhavestolenthefruithe is eatingduringsucha harvest. manycosmetic Not surprisingly, vesselswereadornedwithmonkey figures.Not onlydidtheseamusing cavortaroundthedresscreatures ingroom,buttheyalsocamefromthe sameexoticcountriesto thesouth thatproducedmanycosmeticingredimonkeyswerealso ents.Interestingly, in ancient employedaspolice"dogs" Egypt.OldKingdomreliefsshow vividscenesof thievesbeingcaught by thecleveranimals.

likelyasgiftsfordignitaries andforeign rulers attheking's thirty-year festival (HebSed).Themonkeys areidentified Dynasty6, reignof PepiI, ca.2289-2255 B.C. Egyptianalabaster (inscribed"Ny-Khaswt- aspetsbytheirbracelets andarmlets. Meryre[female]tenantlandholder" [of the Thevessels arealmostidentical in pyramidendowmentof PepiI] and"first subject andcomposition butremarkoccurrence ofthejubilee"); h. in. (I3.7 cm). ablydifferent otherwise. Thepiece Purchase, JosephPulitzerBequest,Fletcher belowleftishighlystylized, itS overall Fund,andLilaAchesonWallace,Russell shapeis cylindrical, andalldetailsare andJudyCarson,WilliamKellySimpson, reduced to nearly flat relieÂŁ Theother andVaughnFoundationGifts,in honorof piece(no.8I) iS moreorganically conHenryGeorgeFischer,I992 (I992.338) ceived,eggshaped overall, withthe Thetwomonkeyvasesbelowareindetailssculpted in theround.Itcapspiredbykeenobservation of animal turesanalmosthumanintimacy in behavior, in thiscasethecloserelation- theposeofthemother andbaby.In shipbetweenmothersandtheiryoung ancient Egyptian art,it is raretobe amongprimates. Bothvesselswere abletodistinguish individual artists' madeduringtheSixthDynasty,most handsasclearly asinthesetwoobjects.

8I. Vesselin the Shapeof a Mother Monkeywith HerYoung

5X8

80. Vesselin the Shapeof a Mother Monkeywith HerYoung Dynasty6, reignof Merenre,ca. 22552246 B.C. Egyptian alabaster (inscribedwith the nameMerenre); h. 7S4in. (I8.5 cm). TheodoreM. OavisCollection,Bequestof TheodoreM. Oavis,I9I5 (30.8.I34)

82.

GamePieces Baboon-Shaped

PtolemaicPeriod,304-30 B.C. Ivory.Left: h. I%8 in. (3-S cm). LudlowBullFund,I968 Right:h. I%6 in. (3.3 cm). Purchase, (68.3). FletcherFundandThe GuideFoundation Inc.Gift,I966 (66 99X7S)

an Thesetwolittlebaboonsrepresent that importedspecies,Papioanubis, hamv1? of mane lacksthemagnificent animal The figuresaremasterful dryas. depictions,comblningpreciseanawithexpressive, tomicalrendering Since almostsatiricalcharacterization. right the on thebackof thefigure is shapedlikea knucklebone,thetraditionalformof dicein the ancient world,it is likelythatbothanimals werepiecesfroma game.Stylistically theyareso closeto oneanotherthat theymustbelongto thesameset,althoughtheycameto theMuseum at differenttimes. Bythe Ptolemaicera,many werelivingin cities,some Egyptians of whichwerequitelargeandcosmothatancient politan,aswasAlexandria, of NewYork.The minor equivalent artsof thetimeoftenreflectan urban lifestyleanda somewhatsentimental attitudetoward andcondescending nature.The twobaboons,nearcaricaturesof twolittlebeggars,aregood examplesof thisoutlook.The artist whosculptedthefigureshada discerningeyethatwassurelyinfluenced bytheHellenistictradition,whichis reflectedin theintricateposturesof thethinanimalbodies. .

83. Baboon Dynasty26, 664-S2S B.C. Memphis(?), Faience;h. 3X6in. (8.8cm). Purchase, EdwardS. HarknessGift,I926 (26.7.874)

Egypt'sresidentspeciesof baboon, vanishedfromthe Papiohamadryas, wildduringtheMiddleKingdom, aboutthesametimethatthemonkey baboons Thereafter alsodisappeared. continuedto be importedfromthe depicted south.Theywereconsistently aslessplayfulandmoreseriousthan thewhimsicalmonkey.As farbackas EarlyDynastictimestheancient thebaboonasthe venerated Egyptians whiteone,"whichhasbeen "great calleda royalancestoranimal.Based of theactualbehavior on observations believed of baboons,theEgyptians thesun worshiped thattheseprimates armsor godat sunrisewithupraised handson theirknees,posturesthat byprimatologists havebeenexplained needto warmits body astheanimal's Thehands-on-knees morning. the in posturefoundits mostimpressive in largebaboon artisticrealization createdduringthereignof sculptures AmenhotepIII(ca.I390-I353 B.C.). and intelligence Thebaboon's enigmaticgazelinkedit to Thoth, for thegodof wisdom,responsible all writing,andgenerally measuring, Thisfaiencestatthingsintellectual. of thedeity. uetteis a representation Manyartistsstudiedandrevivedolder duringDynasty26. artistictraditions that It is entirelypossible,therefore, IIIbaboonsculptures theArnenhotep weretheultimatesourceof this statuesque smallbutimpressively masterpiece.

developed

in six

main phases.

During

the

A BriefHistoryof AnilnalRepresentation in EgyptianArt

LatePredynasticPeriod, ca. 3200-2960 B.C.

DynastiesI and 2, ca. 2960-2649 B.C.

Dynasty3, ca. 2649-2575 B.C.

Dynasty4, ca.2575-2465B.C.

Dynasties5and6, ca.2465-2I50B.C.

Theartof Egyptian animalrepresentation

__ _ _

latePredynastic Periodandthefirsttwo x dynasties, animalrepresentations were widelyusedto expresstheoretical concepts suchaskingshipor thepowersof theuniverse.At thistime,theEgyptians formu_ latedtheirhieroglyphic script,a goodpart of whichis composedof animalimages. Animalswererendered moreabstractly thantheywouldbelaterand canusuallybe identifiedbygenusbutnotbyspecies.Manyimportant imagesof deitiesin animalshapesbeganto receivedefinitiveform,a processcompletedbyDynasty3.Theiconography of typesthuscreated wouldcontinueto be usedin muchlaterperiods.

Thesecondphaseof animalrepresentation beganin Dynasty4 andreachedanunsurpassedpeakin Dynasty5.Egyptianartists revealed theiroutstanding abilitiesto observenaturecloselyanddepictit precisely.Today's zoologistscanidentify almosteveryspeciesof fish,fowl,or hornedsteppeanimalseenin paintings andreliefsfromtheperiod.Theincentive forthisnaturalism camefromthebelief thatthesungod,assupremecreator, caredforeverylivingthing,each in itsparticular formandsize.In art,thesolarcreedfounditsmost potentexpression in theFifthDynastysuntemplesatAbusir,justsouth of present-day Cairo.Preserved onlyin fragments, reliefsfromthese templesrevealed in minutedetailthelivingworldunderthesolar deity'stutelage.Eachanimalwasshownin activities appropriate to the threeseasonsof theEgyptian year.Theinfluenceof thesesun-temple reliefsis apparent in allanimalrepresentations of theOldKingdom andin manylaterworksof art.

Nos.

I, I3,

Nos. 49, 50, 52, 54

No.

oped. _ As

FirstIntermediate ca.2I40Period, 2040

B.C.

_ _ _

the Early Old in

the Kingdom third

waned, phase

of theanimal

of Memphis(modernMit importance Rahina,southof Cairo)anditsroyalresanda idencegavewayto theprovlnces, develphilosophy pessimistic markedly

whichcoincideswith representation, theMiddleKingdomandearlyNew inspireda nascentfolkart,andtheprevailing Kingdom,provincialism forwhichmany of magicalpractices gaveriseto a multitude pessimism with newtypesof objectswerecreated.Oftenfolkartandiconography while figures, animal Kingdom in Middle mingled significance magical intofine thesecharacteristics luxuryarticlessublimated high-quality largely were worksof art.Royaltempleandtombreliefs,however, Asthethirdphaselappedover byOldKingdomprototypes. influenced animalimages, manycharming intotheearlypartof theNewKingdom, oftenmoreintimateandelegantthanthoseof theMiddleKingdom, werecreated.

MiddleKingdom, ca.2040-I640 B.C., to earlyNewKingdom, ca.ISSO-I400 B.C.

III, Amenhotep ca.I390-I353 B.C.

Akhenaten, ca.I353-I336 B.C.

A revivalof solarworshipusheredin thefourthphaseof theartof animal Thenewintensityin representation. theworshipof thesungodstarteddurIIIand ingthereignof Amenhotep son his reacheda peakwhile to thisphaseindudesmanyparallels wasking.Artistically Akhenaten details, of OldKingdomartists.Anatomical theaccomplishments concerns. wereagainprimary rendered, andprecisely doselyobserved not only Therewasrenewedinterestin the conceptof time,expressed to capattempts artists' the but in life of seasonal in representations turea passingmomentbyshowingtheeffectsof gentlewindsblowing suchas animalsin motion.Stylistictendencies overplantsorbyfreezing mostreadilyto painting,andevenbeforethethird theselentthemselves of thiskind.Manyfinedrawings phasehadended,therewereexamples of theachievements Dynastyanticipate madein theearlyEighteenth reign. artistsduringAkhenaten's in theroundwereanotherspecialtyof thelatethird Smallsculptures lifestylethatreandfourthphases,echoinganurban,luxury-oriented betweenhumansandanimals. relationship sultedin a moresentimental bylargehardanimalfigureswereinfluenced Manyof thesmall-scale suchasthemorcreatedforroyalmonuments stoneanimalsculptures IIIatThebesor,in Nubia,thetempleat tuarytempleof Amenhotep royal works,suchasa texton a largescarabdescribing Soleb.Literary theimhuntingfeatsor thefamoushymnsto thegodAten,underlined of animalsin thestateideologyof thetime.Theimmensehuntportance bythefamedcourthuntsof theNewKingdom, ingbootygenerated mayhavegivenartiststhechanceto studyanimalbodies incidentally, directly.

Nos.

6I, 62, 73

Nos. 38,

39, 4I, 59

No. 34 Nos. I6, I7, 27 Nos. 25, 49 Nos. 3, 9, 20, 35,

37, 39,

42, 57, 7I, 76, 77, 78, 79

_ _

Nos. 4, 6, IS, 24, 26, 48, 75

No. 7s No. 24 Nos. 35,67, 78

Nos. 3, 4, 75

Sometime especially

I9 and20, Dynasties ca.I295-I070 B.C.

ThirdIntermediate ca.I070-7I2 Period,

during during thetheLate Old Period, and New

dynasin succeeding Justasechoesof FifthDynastyartreverberated IIIand of thereignsof Amenhotep ties,theanimalrepresentations theartof latertimes.Thisinfluenceis greatlyinfluenced Akhenaten reflected in themanyfineanimalimagesof DynastiesI9 and20 and of certainamulets Period.Thestrikingliveliness theThirdIntermediate vitalityof thattraditionaswell. fromthatperiodrevealstherenewed

Nos.

I2,

40, 53,63, 69

No. 37

B.C.

LatePeriod,7thto 4th centuryB.C.

artistsbeganto discovertheanatomiof animalbodies.They calstructure andcaptured hadalwaysobserved of eachspecies, essentialcharacteristics

_ _ _i

butnow,in thefifthphase, Kingdoms, howbones, theysoughtto understand muscles,sinews,andskinmadeananimalfunction.Theresultscould be lmpresslve. in of thisfifthphasearesculptures Thebestanimalrepresentations small Innumerable theround,createdin darkgreenorblackhardstone. of highqualitymadeduringthisperiod animalamuletsandfigurines in earlierachievements andreinterpreting alsoshowartistsreevaluating beautiful detail. The organic on art,witha newemphasis miniature faienceenhancedtheeffectof these colorof thisperiod's lightturquoise a

_ _

Nos. S, S째

Nos. I9,

20,

37, 46, s6,

S8,64, 83

tlny masterpleces.

_ _ -

Sx I0, II, S째

sometlmes

andRoman Ptolemaic periods304s.c.-4th centuryA.D.

Nos.

Thesixthphaseof animalrepresentationcoveredthePtolemaicand Romanperiods.In thelightblue, finlshedfaienceof the impeccably period,

Nos. 28, 29, 33,74, 82 Nos. 2I, 28

amuletlclmagesassumeda

theincoolaloofnessthatreflected typicalof thisphaseof tellectualism waswidely culture.Bronze Egyptian for werealsocontainers usedforanimalfigures.Manyof thesebronzes almost bodyrelicsof realanimals.Suchobjectsremindusof theperiod's of thedivine.Beginning frenziedsearchfortangiblemanifestations ratherthanimages, LatePeriodphase,actualanimals, withthepreceding in the worshipof deities. numbers in ever-increasing hadbeenincluded of manystrikartwasthecreation of Ptolemaic A specialachievement Whethervotivesorsculptors' ingreliefimagesof animalsin limestone. animalsin anexemplary models,thesereliefsclearlystriveto represent of yearsof artistictradition thousands anddirectmanner.Capturing andattention theyevincethesamesubstance in definitivepictograms, to detailthathadinspiredanimalimageryin EgyptsincetheOld Kingdom. _ _

Nos. 23, 43, 44, 4S, 60

Nos. SI,S2,SS

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III:Planteset animausdu 'CJardin Thoutmosis Lovaniensia Karnak.Orientalia botanique"de

Page24, "Asa boldfen-mandoes":H. W. Horus,p. 82, verses Fairman,TheTriumphant and90-92. 8I-83

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Page24, "FromyourbeautyI'llnot part!": vol. 2, notedabove, Lichtheim,Literature,

de Le Cabinetdu curiosite's Beaux,Nathalie.

I977-

Lichtheim, Page7, "'Thisis the tasteof death"': vol. I, TheOldandMiddle Literature, p. 224. Kingdoms,

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HymnenundGebete. Jan.Agyptische Assmann, derAltenWelt.Zurichand DieBibliothek Munich,I975.

O. TheAncientEgyptian Raymond Faulkner, England, 2 vols.Warminster, Cog7in Texts.

p. 203.

PageI6, "whoseesandcatchesby night": RaymondO. Faulkner,TheAncientEgyptian p- I05, vol. 2, Spells3Sy-787) Cofin Texts, spell470.

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P- 97-

Animals: Phillips,DorothyW.,AncientEgyptian A PictureBook.NewYork(TheMetropolitan Museumof Art),I942. und Erzahlungen Roeder,Gunther.Altagyptische Jena,Germany,I927. M2rchen. du nouvel Catherine.LesChevaux Rommelaere, races,harnacheOrigines, empireEgyptien: de l'Egypteancienne ment.Conaissance Etude3. Brussels,I99I. Schoske,Sylvia,andDietrichWildung.Gottund Mainz,I992. Gotterim altenAgypten. Winlock,HerbertE. ModelsofDailyLifein at AncientEgyptfromtheTombofMeket-Re of The Metropolitan Thebes. Publications Museumof ArtEgyptianExpedition.Vol.I8. Mass.,I955. Cambridge, Notes: Page2, "noscenein the tombcontainedany HerbertE. Winlock,"The suchfigure": The EgyptianExpedition,I922-I923," MuseumofArtI8 Bulletinof TheMetropolitan (oldseries,DecemberI923), part2, p. 2I. with a fewswiftstrokesof Page2, "indicated black": Winlock,"TheEgyptianExpedition," notedabove,p. 34. Page4, "Beetlewho raisedhimself":Miriam vol. 2, Lichtheim,AncientEgyptianLiterature, p. 87. TheNewKingdom,

Page38, "whenthe riverbanksareflooded": PyramidTexts, Egyptian Faulkner,TheAncient byJames 58I; translation p. 235, utterance Allen. Page38, "Who makeshis bountyoverflow": vol. I, notedabove, Lichtheim,Literature, pp. 205 and207. Page43, "Iwason my bellybeforehim": vol. I, notedabove, Lichtheim,Literature, p. 2I2.

Page45, "Andmy heartwassweetto excess": byJamesAllenfromPapyrus Translation Harris500. PageSI,"littleworldof fourthousandyearsago": HerbertE. Winlock,Modelsof DailyLifein AncientEgypt,p. 3. Lichtheim, PageSI,"sothathe couldescape": vol. 2, notedabove,pp. 204-6. Literature, Page54, "Thereis nothingmorecunningthan man":GuntherRoeder,Alt2gyptische p. 308. undMarchen, Erzahlungen Page58, Rator spinymouse:The animalon the reverseof the Senenmutostracon(acc.no. hasbeenidentifiedbyJacquesJ. 3I.4.2) Janssenasa fox ("Onthe Scentof a Fox"in pp. I6 [I990], in Egyptology Discussions 43-SI),but the longanddensewhiskers, elongatedmuzzle,andthin tailarenot those of a fox. DaleJ. Osbornidentifiesthe animal asa rodent,quitepossiblya spinymouse England,forthcoming). (Warminster,

The

14usew lAetrsaltaolntatn

Art

D3u11eiGiisn

lIlales

Summer 1994-Spring 1995 New Series, Volume LII

Arnold, Dorothea. See An Egyptlan Bestiary

Bestiary. No. 4, 1 64 An Egypt activities in the alluvial land, tomb painting, Dyn. 18, 38 aThe Alluvial Land,"3u0 amulets and figurines, animal, Late Period, 6. See also under individual animal names antelope: on comb, Predynastic, 8; head, Dyn. 27, 12, 13 Anubis: as embalmer, Ptolemaic, 14, 15; recumbent, painted, Dyn. 2S27, 16 baboon(s): game pieces, Ptolemaic, 60; on magic rod, late Dyn. 12-13, 35; Memphis (7), Dyn. 26, 60 bee, painted relief, Lisht South, Dyn. 12, 47 beetle, on beetle sarcophagus, PtolexTlaic,49 birds, painted relief, Deir el-Bahri, Dyn. 11, 27 bolti (fish), dish, Dyn. 18, 37 "ABAef Histoxy of Animal Representationin Egyptian Art,"6143 bull(s): Apis, Dyn. 2S29, 53; fighting, painting on limestone, Dyn. 1F20, 52; leg, fumiture, Abydos, Dyn. 1-2, 53. See also cattle butterfly amulets, Lisht, Dyn. 1>13, 31 camel, head, Thebes, Ptolemaic, 54 canid(s) (jackallsD:on comb, Predynastic, 8; head, Late Period, 15. Seealso Anubis, dogfs), jackals cat(s): Late Period, Dyn. 2S29, 41; with ichneumon, Ptolemaic, 39; mummy container, Saqqara, Ptolemaic, 40, 41 cattle: resting, Dyn. 2S29, 52; stable with fattened, Westem Thebes, early Dyn. 12, 50, 51; or wild bulls, on comb, Predynastic, 8 cheetah, 19 cobra(s): frieze, canopic shrine of Tutankhamun, 42; giant, on comb, Predynastic, 8; heads, late Dyn. 18, 42; on pharaob's forehead, painted relief, Deir el-Bahri, Dyn. 11, 43; and vulture, relief, Ptolemaic, 46 crane. Seeheron crocodile(s): on magic rod, late Dyn. 12-13, 35; sculpture, late 1st cen. s.c.arly 1st cen. A.D., 32 deer (stag), Persian fallow, on protome from diadem, Hyksos, Dyn. 15-16, 15 dog(s): attacking feline, on comb, Predynastic, 8; crouching, Dyn. 18, 57; hounds and jackals game, Thebes, late Dyn. 12, 64; hunting, tomb relief, Saqqara, Dyn. 5, 8, 9; pharaoh's hunting, mechanical, late Dyn. 18, 57 donkey, drawing on limestone, Deir el-Bahri, Dyn. 18, 54 dragonflies and damselflies, amulets, Lisht, Dyn. 12-13, 31 duck(s):.mallards, cosmetic containers in shape of, Dyn. 18, 28; painted stucco pavement, Malqata, Dyn. 18, 26; trussed, perfume vessel in shape of two, Middle Kingdom, prob. Iate Dyn. 12-13, 28, 29 "The Egyptian Desert," 7-23 elephants, on comb, Predynastic, 8 falcon: flying, polychrome inlay, Hermopolis Magna, Ptolemaic, 1; sculpture, prob. Heliopolis, Dyn. 30, 44, 45 feline(s): handle of cosmetic spoon, Malqata, Dyn. 18, 19; large, on comb, Predynastic, 8 fish, in canal, tile, El-Qantir,Dyn. 19, 36 fly, amulets: Dyn. 1917; Dyn. 26-29; early Dyn. 18, 48 frog, amulets: Dyn. 19; Dyn. 19-20; Dyn. 26-29; on lotus pad, Dyn. 18; New Kingdom; tree (.2),New Kingdom, 34 gazelle: Dorcas, tomb relief, Saqqara, Dyn. 5, 8, 9; mummy, Thebes, 11; Dyn. 18, 10, 11; three debenweight in fonn of, Dyn. 18, 11 geese, tomb painting, Dyn. 2, 61

genet, Dyn. 2S29, 22 giraffes, on comb, Predynastic, 8 hare: amulet, Ptolemaic, 23; as hieroglyph, painted relief, Deir el-Bahri, Dyn. 11, 23; tomb relief, Saqqara, Dyn. 5, 8, 9 hedgehog, seal amulets; Dyn. 26; Late Period, prob. Dyn. 26; New Kingdom, 22-23 heron: or crane, on comb, Predynastic, 8; drawing on papyrus, westem Thebes, Dyn. 21, 31 hippopotamus, 24; Meir, Dyn. 12, back cover; Middle Kingdom, 33; painting on limestone, Deir el-Bahri, Dyn. 18, 2, 33 hoopoe, drawing on papyrus, Dyn. 19, 46 horse: comb, Dyn. 19, 55; drawing on lnestone, Thebes, Dyn. 26, 2, 55; whip handle, Thebes, Dyn. 18, 55 hunt in the steppe, relief, Saqqara, Dyn. 5, 8, 9 hyena: at bay, tomb painting, Dyn. 18, 5; tomb relief, Saqqara, Dyn. 5, 8, 9 ibex: Dyn. 18, 13; late Dyn. 18, 13; tomb relief, Saqqara, Dyn. 5, 8, 9 ibis, hieroglyphic sign showing, relief inlay, El-As}wnunein (Hermopolis Magna), Ptolemaic, 30. See also Thoth ichneumon, 22; Ptolernaic, 39 jackals, hounds and, game, Thebes, late Dyn. 12, 64. See also canid(s) jerboas, funerary votive figures, Middle Kingdom, late Dyn. 12 orDyn.13,21 leopard: head amulet, double, from girdle, Lahun, Dyn. 12, 19; on magic rod, late Dyn. 12-13, 35 lion(s): head, seated goddess with, amulet, Third Intermediate Peri<}d,18; on magic rod, late Dyn. 12-13, 35; pharaoh spears a, painting on limestone, Thebes, Valley of the Kings, late Dyn. 2(}Third Intermediate Period, 1S17; recumbent, said to be from Gebelein, Early Dynastic, 17 marshland fauna, tomb painting, Thebes, Dyn. 18, 24 mollusk shell, jewelry: bivalve, Lisht North, late Dyn. 12; cowrie, Lisht, Dyn. 1>13, 36 monkey: vessel, Dyn. 18, 58, 59; vessels, mother with young, Dyn. 6, 59 mosquito deity, amulet, Dyn. 2g29, 48 mouse, cosmetic dish, Dyn. 18, 58, See also rat official, deceased, adores deities in the western desert, tomb painting, Thebes, early Dyn. 19, 7 otter, Ptolemaic, 25 owl, barn, relief, Ptolemaic, 47 oxen, farmer plowing with, early Dyn. 12, 51 pig: sow, amulet, Dyn. 26-29; young, westem Thebes, late Dyn.

13 (.2),56 rat or spiny mouse, drawing on lisTIestone,westem Thebes, Dyn. 18, 58 scarab, amulets: Dyn. 19; late Dyn. 12-early Dyn. 13, 49 scribe notes the spoils of the hunt, tomb painting, Thebes, Dyn. 18,4 sheep (ram): Medinet el-Fayum, Roman Imperial Period, prob. 2nd cen A.D., 56; hieroglyphic siF depicting, tomb painting, Beni Hasan, Dyn. 12, 5 shrew, Ptolemaic, 39 snakes, on comb, Predynastic, 8 storks, on comb, Predynastic, 8 swallow, relief, Ptolemaic, 45 Thoth, Ptolemaic, 30 toad(s): amulets, Dyn. 2g29, 34; on magic rod, late Dyn.

12-13, 35

tuxtle(s): amulet, Dyn. 12, 34; amulet, New Kingdom, 35; amulet, Second Intermediate Period, 35; cosmetic dish cover, Dyn. O, 35; on magic rod, late Dyn. 12-13, 35 vulture, with cobra, relief, Ptolemaic, 46 aWetlands and Waterways,"24-37 wildcat, 22; container, early Dyn. 12, 20, 21

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

The Met and tlxe New M{llenn{|m: A Cbronicle of the Past and a Bhleprint for ffie Future. No. 1, 1-90. actors, terracotta, Greek, prob. 4th cen. B.C., 78 "Al-Andalus:The Art of Islamic Spain," exhibit, 86 altar:platform, Buddhist, Japanese, modeled on 12thwen. example, Fukiji, Kyushu, 47; ritual, set, Chinese, early Westem Chou, 43 American Wing, 22; Charles Englehard Court, 18, 24, 35, 37, 38, 39; fasade of Branch Bank of the United States, 21, 24, 38; Henry R. Luce Center for the Sxdy of American Art, 24, 40 Andre Mertens Galleries for Musical Instruments, 60 Annie Laurie Aitken Galleries, 74 Antonio RattiTextile Center, 18, 58, 76, 77 armor: child's, French, 1712, 59, 60; Japanese, late Kamakura, 59; jousting, German, ca. 158(}90, 60 armor shop, 13 Arms and Armor Galleries, 59 60 Astor Court, 44, 45 AttarouthiTreasure, nolthem Syria, 6tls7th cen., 75, 76 Balthus, 7heMountain, 1937, 28 Bamard, George Grey, Struggleof tbe EwoNaturesof Man, 20 Beatus Manuscript, Spanish, late 12th cen., 9 bed, state, English, Hampton Court, 1697-98, 74 Bernini, Gian Lorenzo, Faun Neasedby Children,161S17, 52 Bernini, Gian Pietro, P"apus and Flora, 1616, 51-52 Bingham, George Caleb, Fur EradOsDescendingffieMissoun, ca. 1845, 39 Blanche and A.L. Levine Court, 27 bound prisoner, limestone EgyFxian,Dyn. 5, 36 bowl: gold, Cypriot, 8th cen. B.C., 80; majolica, with arms of Pope Julius II, Italian, 1508, 32 Bruegel the Elder, Pieter, 7he HarJJesters, 1565, 89 Buddha, standing, Sri Lanka, Polonnaruva, 11th-12th cen., 49 Canevale, Isidor, room, Palais Paar, 54 Canova, Antonio: PerseusunththeHead of Medasa, 1804 6, 5; Venusand Cupid,52 Carpeaux, Jean Baptiste, Ugolinoand His Sons, 1865-67, 8 carpentry shop, 19 Carrolland Milton Petrie European Sculpture Court, 8, 24, 25, 50, 51-52, 69 Central European galleries, 53 Charlotte C. and John C. Weber Galleries for the Axtsof Ancient China, 43 Chinese galleries, 7s71 choir screen, Spanish, Cathedral of Valladolid, 1763, 75 Ch'u Ting, attr., SummerMountains(detail),Northem Sung, 44 Cleopatra's Needle, 51 Clodion, reliefs, 52 The Cloisters Treasury, 60 61 colossi of Amenhotep III, Egypthn, Temple of Luxor, Thebes, Dyn. 18, 64 conservation activities: stabilizing pigment, Japanese painting, 12; restoring stained glass, Cloisters, 14 cosmological diagram, silk-tapestly, Sino-Tibetan, 13th-14th cen., 14 Coustou, Guillaume, SamuelBernard,52 curatonal activities: American Decorative Art, 12; Amencan Paintings and Sculpture, 15; Asian Art, 14; Egyptian Art, 15; Greek and Roman Art, 14; Medieval Art, 12 Degas, Edgar, LittleFourteen-Year-Old Dancer, 83 "Degas,"exhibit, 83 Department of Photographs, 11 D'Epinay, Coste Prosper, Sappbo,ca. 1&95,25 dish, red-lacquer, Chinese, Yuan to early Ming, 44 doorjamb fragment, Egyptian, Temple of Ramesses II, Thebes,

DeDrowning of Bntomartis,French,prob. Paris,1547-59,57 EditorialDepartment,11

Egyptian galleries, 24, 36 Emperor Augustus, cameo, Roman, A.D. 41-54, 78 EmperorHsuan-tsung'sFlightto Shu,Chinese, Southem Sung, 43 Ennion, glass vessels, Roman, 1st cen. A.D., 78 Euphronios (painter), calyx-krater, Attic, ca. 515 B.C., 79 fireplace, French, 1st quarter 16th cen., 57 Flandes,Juande, 7beMamageFeastatGgna,ca. 1500,54 Florence and Herbert Irving Galleries for the Arts of South and Southeast Asia, 9, 49; KhrnerCourt, 48 Flowersand Birdsof theFourSeasons,screen, Japanese, Momoyama, 46 Foggini, Giovanni Battista, GrandPrinceFerdinandode' Medici,168345, 52 French, Daniel Chester, The Melvin Memorial (replica), 1908, 40 French Renaissance gallery, 56, 57 Freud, Lucian, NakedMan, Back Vew, 1991-92, 29 Goya, Francisco, Countessof Altamiraand HerDaugbter,30 Grand Staircase, 22 Great Hall, 4, 5, 2621; balcony, 5, 63, 69; infomlation desk, 22; international visitors desk, 86 Greek and Roman galleries, 77, 79, 88 "The Greek Mirade," exhibit, 32 GuardianKingFudoMyo{>,Japanese, late Heian, 47 head: fragnent, poss. Queen Tiye, Egyptian, Dyn. 18, 36; queen mher, Nigerian, Edo, 18th-19th can., 42 horse, China, T'ang, 26 Houdon, Jean-Antoine, Bather,1782, 10, 51, 52 Ingres, J. A. D., Princessede Broglie,ca. 1851, 30, 32 Iris and B. Gerald Cantor Galleries, 52-53 Iris and B. Gerald Cantor Roof Garden, 29 Jack and Belle Linsky Galleries, 25, 56 Klee, Paul, BempRe Gardens,1920, 29 Kooning, Willem de, Attic,1949, 28 Li Kung-lin, rhe Classicof FilialPiety,70 lion: and bull, winged, Assyrian, Nimrud, 61; Meissen porcelain, Gennan, ca. 1732, 53 Lotus Sutra, illustrated, Korean, Koryo, 70 mandala, silk-tapestxy (detail), Chinese, Yuan, 47, 49 "Manet,"exhibit, 85 Matisse, Henri, NasturtiumswithDance, 1912, 28 mbispoles, New Guinea, Asmat, 41 McKim, Mead and White: north wing, 1914, 68; stair hall, Metcalfe House, Buffalo, N.Y., 1884, 39 "MedievalArtbom lste Antiquitythrough lste Gcxhic,"exhibit, 84 Medieval Sculpture Hall, 75, 84 meeting hall, Jain, Indian, Gujarat,Patan, 159496, 49 Metropolitan Museum of att, exterior: ariel view, 1955, 23; ariel view, 1991, 23; Fifth Avenue plaza and front steps, 1S17, 20, 82; first building in Central Part, 1880, 21; Vaux, Calvert, Neo-Gothic arch from Fifth Avenue faade, 51 Michael C. Rockefeller Wing, 41>2; Art of Oceania gallety, 41; Jan Mitchell Treasury, 41; Robert Goldwater Library,41; West African galleIy, 42 Mosca, Simone, wall fountain, ca. 1528, 57 Nineteenth-Century European Paintings and Sculpture galleries, 63, 6v7 Noguchi, Isamu, WaterStone,1986, 46 Nur al-Din room, Syrian, 1707, 61 Palmer, Erastus Dow, 7he Indian Girl,1853-56, 39 Paolo, Giovanni di, wuEsionAnn Paradise,ca. miAS-15Xh cen., 30 Phyllisand Anstotle,Mosan school, ca. 1400, 31 Pigalle, Jean-Baptiste, Mmede Pompadour,52 Pollock, Jackson, AutumnRhythm(Number30), 1950, 6; Number28, 1950, 28; Pasiphae,1943, 28, 29 Raymond and Beverly Sackler Gallely for Assyrian Art, 61. See also Sackler Wing restaurant and cafeterLs,80, 81 robe (>osode), woman's, Japanese, Edo, 45 Robert A. and Renee E. Belfer Court, 81 Robert Lehman Wing, 25, 3s32, 68 Robert Wood Johnson Jr. GalleIy, 51, 65

Rodin, Auguste: ZheBronzeAge,cast ca. 1906, 63; ZheBurghers of Gxlais, cast 1985, 29, 52; study for the Monumentto Balzac, 1897, cast 1972, 67 room, hotel de Varengeville, Paris, ca. 1735, 55 Ruth and Harold D. Uris Center for Education, 88 Sackler Wing: hts of Japan Galleries, 26, 46, 47, 69; Sackler Galleries for Asian kt, 46, 47. SSealsoTemple of Dendur Saint-Gaudens, Augustus, Dtana, 1928, 37 sarcophagus, Roman, early 3rd cen. A.D., 6 seated couple, Mali, Dogon, 42 "Seurat,185F1891," exhibit, 82, 87 Sherman Fairchild Center for Objects Conservation, 57-58 Sherman Fairchild Paintings Conservation Center, 58 sphinx of Amenhotep III, Egyptian, Dyn. 18, 3g35 Spring,Coptic, ca. 40s450, 76 statue, copy of Greek, Roman, A.D. 6F96, 77 studiolo, Italian, Gubbio, Umbria, ca. 1476 80, 73 Sullivan, Louis, staircases, Chicago Stock Exchange Building, 1893, 38 Bateof Genji,screen painting, Edo, 45 Temple of Dendur, EarlyRoman, ca. 15 B.C., 22, 26, 33-35, 64, 68 Tiepolo, Giov Domenico: 7he Captureof Garbage,172g30, 72; Punchinelloas a Dressmaber,late 18th cen., 31 Tiffany, Louis Comfort, loggia, Oyster Bay, Long Island, 38 UTreasuresof Tutankhamun," exhibit, 26, 83 triton and tritoness, ann bands, prob. nothern Greece, ca. 200 B C., 78 Vanderlyn, John, Panoramic Viewof Versailles,181S19, 37 Van Gogh, Vincent,OliveOrsbard;Sboes,1888; WheatFxeld u>ithCypresses,1898, 67 "WaistNot," effiibit, 65 wall paintings (facsides), Egyptian, Thebes, 36 Wallace Wing, Lila Acheson, 22, 27, 69

WiUiamsHouse, WilliamC., 1810,38 Wright,FrankLloyd,livingroom, FrancasW. LittleHouse, 1912-14,3v39 YatsubashiCEight-plari Bridge),screen, Korin,44 MontebeHo,Philippede. See lene Met and the New Mlllennium

Recent hcqulsiins:

A Selstion,

199>1994.

No. 2, 1-96

Aftica, Oceania,and theAmericas.Kim Benzel, Kate Ezra,Julie Jones, Heidi King, J. Kenneth Moore, 80 83 carved tusk and finial, Zaire, Loango coast (Kongo, Vili), 19th cen., 81 nfukula(chest drum), Zaire CIabwa), early 20th cen., 81 sword, sheath, and panels, ceremonial, Nigeria (Yoruba, Owa), 19th 20th cen., 82 temple sculpture, Mexico (Mezcala), 500 B.C.-A.D. 1500, 83 tunic (jibbeh.),Mahdist, Sudan, prob. 1881-98, 80 vessel with ntual scene, Mexico or Guatemala (Maya), 8th cen., 83 AncientWorkl.Dorothea Amold, Joan Aruz, Kim Benzel, Patricia A. GiLkison,MarshaHill, Joan R. Mertens, ElizabethJ. Milleker, Carlos A. Picon, CatharineRoehrig, S15 appliques in shape of scallop shells, pair, Greek, late 4ti3rd cen. B.C., 13 Ashby Painter,attr.,kylix, Greek, Attic red-figure, ca. 500 B.C., 12 cups, drinking (kylikes), pair, Greek, late 4ti3rd cen. B.C., 13 flask, perfume (alabastron), Greek, late 5th}4th cen. B.C., 14 head: bearded man, portrait, Roman, prob. Hadrianic or early Antonine, 14, 15; bull, Early Bronze Age, Canaande, 8 phiale, Greek, 6th cen. B.C., 13 relief block with face of Nefertiti, Egyptian, Dyn. 18, 9 spoon, decorated, Egyptian, Dyn. 19, 9 statue of Ankh-Wennefer, block, Egyptian, late Dyn. 25 or early Dyn. 26, 1O11 vessel, inscribed cult, northern Mesopotamia, Akkadian/NeoSumenan, 8

wall painting with warrior scene, south Italian (Lucanian), mid 4th cen. B.C., 14 Asia. Maxwell K. Hearn, Seven M. Kossak, MartinLemer, BarbaraBrennan Shimizu, Anita Siu, Masako Watanabe, James C. Y. Watt, 8O95 Bhima, Kesu Ram, Bhopa, and Nathu, Maharana Ari Singh unth His Courtiersat the Jagniwas WaterPalace, Indian, Rajathan,Mewar school, 1767, 9t) Buddha: scene from life of, Japanese, NamboEcho, 89; seated crowned and jeweled, Indian, Bihar, Pala, Kurkihar style, 93; standing, Sri Lanka, Polonnaruva, 91; standing, Thailand, Mon style, 8ti9th cen., 93 figure of man, Chinese, Warring States, 84, 85 Lm Liang, Ewo Hawks in a Bbicket,Chinese, Ming, 86 Noh masks: ChAjo,Japanese, Edo, 88; Ro-omote,Japanese, Edo, 88 palanquin, Korea, Choson, 87 Shiva, five-headed, Cambodia, Anglcor, Khmer style of Pre Rup, 94 Uma, standing, Cambodia, Angkor, Khmer style of Banteay Srei, 92 vessel in form of affiead, ceremonial, Indonesia, Bronze and Iron ages, 95 yu (bowV with painted geometric design, Chinese, Westem Han, 85 Europe 1700 19OO.Clare Le Corbeiller, Malcolm Daniel, James David Draper, William M. Griswold, MaAaMorris Hambourg, Laurence Libin,Jesse McNab, StuartW. Pyhrr, William Rieder, Susan Alyson Stein, Louise Stover, Galy Tinterow, 3g53 athenienne, one of pair, French, ca. 1773, 39 Bouguereau, Adolphe-William, Young Mother Gazing at Her Child, 1871, 47 Boulton, Matthew (designer), MineIva clock, ca 177s82, 37 Brun, J. C. A. (gunmaker), double-barrel percussion shotgun, French (Paris), 1866, 47 Canova, Antonio, Venas and Cupid, ca. 179S99, 40 centerpiece, English (Minton, Staffordshire), 1866, 44 45 Cezanne, Paul: DominiqueAubert, theArtist's Uncle, as a Monk, 1866, 48; lbe House with Cracbed Walls, 1894, 49 Gauguin, Paul, The Siesta, 51 Green, Samuel, chamber organ, ca. 1790, 39 Jeannest, Louis-Fransois, Dominique VivantDenon (1747-1825), General Director of the Musee Napo1Fon, 1802, 40 Johnson, David, Acan Barque 'AJaneTuzlor," Conway Bay, ca. 1855, 45 Longhi, Pietro, study of a seated woman, 36 Manet, tdouard, Still Life uath Flowers, Fan, and Pearls, ca. 1860, 46 Piranesi, Giovanni Battista, Villa of Hadrian: Octagonal Room in the Small Baths, ca. 1777, 36 Pissarro, Camille, 7be Cabbage Gatherers,ca. 1878-79, 50 Prud'hon, Pierre-Paul, Charles-Maurice de Tallyrand-Pertgord (1 75s1838), Prince de Benevent, 1817, 40, 41 Royal Porcelain Manufactoly, vase, ca. 1820, 42 Talbot, William Henry Fox, 7he Pencil of Nature, published 1844-46, 42>3 Triqueti, Henri, baron de, Portrait of a Woman, ca. 1850, 43 Unknown artist, French school, HenriZharlesManiglier, ca. 1850, 44 Valadier, Luigi, candelabra, pair, 1774, 38 Van Gogh, Vincent: Bouquet of Flowers in a Vase,June or July 1890 (.2),52, 53; Vase of Roses, May 1890, 52 Islam. Stefano Carboni, Marie Lukens Swietochowski, 1g17 leaf from manuscript of the Siyer-i Nebi (7he Life of the P>phet), The Meeting between the Shepherd and the Archangel Gabriel, Turkey, Ottoman, 16, 17 vessel, openworls, in shape of circular bowl, prob. Syria, Umayyad, 16

Medieval Europe. Charles T. Little,Jane Hayward, Timothy B. Husband, 1v19 leaf of diptych, Virgin and Child with Angels, north French, ca. 1340 60,19 ring, English or Italian, 14th cen., 19 stained glass panel, 7he Annunciation, German (Attenbergan-der-Lahn,Hesse), ca. 1300, 18, 19 NorthAmerica 1700 1900. Kevin J. Avery, Alice Cooney Frelinghuysen, Peter Kenny, Amelia Peck, Frances Gruber Safford, Thayer Tolles, Catherine Hoover Voorsanger, H. BarbaraWeinberg, 54 61 Forbes, John W., plateau, New York City, ca. 1825, 55 Goodwin, H., embroidered coat of arms, Misses Pattens' School, Haltford, Conn., ca. 1800 1810, 59 Herter Brothers, side chair, New York City, 187F82, 61 Hill, John William, TbePalisades, ca. 1871, 57 J. and J. G. Low Art Tile Works and W. L. Gilbert Clock Co., clock, ca. 1885, 59 Latrobe, Benjaniin Henry (designer), side chair, Philadelphia, Pa., ca. 1808, 54 Ott and Brewer, potpourri vase and cover, ca. 1884 90, 61 Roux, Alexander, sidebrd, New York City, ca. 185954, 56, 57 Saint-Gaudens, Augustus, Rodman de Ray Gilder, 1879, 58 Wiles, Irving R., wEbe Green Cushion, ca. 1895, 60 Renaissance and BaroqpueEurope. Susanne Boorsch, Keith Christiansen, William M. Griswold, Donald J. LaRocca, Walter Liedtke, Helen B. Mules, Nadine M. Orenstein, StuartW. Pyhrr, Olga Raggio, Clare Vincent, Alice Zrebiec, 2(W35 Altdorfer, Albrecht, Landscape zaitha Double Sproce, ca. 152s22, 21 Bellange, Jacques, Hortulana, 35 Carracci,Agostino or Annibale, Two Children Teasing a Cat, ca. 1590, 20 Chiari,Giuseppe, Batbsheba at Her Batb, ca. 1700, 34, 35 de Champaigne, Philippe, Portrait of Madame de Champaigne, ca. 1628, 28 design for a saddle plate, Italian (Milan), ca. 1575 80, 23 Foggini, Giovanni Battista: Bust of Grand D"ke Cosimo IITde' Medici (164S1723), ca. 168345, 30, 31; Bust of Grand Pnnce Ferdinando de'Medici (166S1713), 32, 33 furnishing fabric, Italian, begin. of 17th cen., 28 Goltzius, Hendrick, 7he Sense of Smell, ca. 1595-1600, 24 Lirnosin,Leonard, HenUy1t, King of France, prob. ca. 1555 60, 22 Ruisdael, Jacob van, Dredging a Canal, 166(}65, 29 Strozzi, Bernardo, Saint Peter, 24 sword, hunting, Swiss, ca. 1600, 29 van de Venne, Adriaen, Each His Oum Pastime (Elsk Sijn Tijt-Verdnjff),prob. ca. 162935, 25 Vannucci, Pietro di Cristoforo, called Perugino, Landscape, ca. 1489, 21 Venneyen, Jan Comelisz., An Onental Banquet: Mulay Hasan and His Retinue at a Repast, ca. 1535, 22 Wtewael, Joachim, 7he Golden Age, 1605, 2g27 EwentiethCentu1y. EUiotBostwick Davis, MariaMorris Hambourg, J. StewartJohnson, Jennifer A. Lovenun, Liss M. Messinger, Sabine Rewald, Jeff L. Rosenheim, Nan Rosenthal, Lowrey S. Sials, H. BarbaraWeinberg, 62-79 Anshutz, Thomas P., A Rose, 1907,67 Braque, Georges, 7be Studio, 1939, 65 Burton, Riclond, Sapphire 51ein,1993, 79 Bush, Andrew, Untitled (Envelopes), 199s93, 76 Cadmus, Paul, 7be Seven Deadly Sins: Anger, 1947, 70 Dine, Jim, Two Palettes (Sears, Roebuck;Francis Picabia), 1%3, 72 Evans, WaLker,untitled instant color prints, 197974, 74 Henle, Jan, LaJibaffta , 1991-94, 77 Hodgkin, Howard, When did we go to Morocco.7,198S93, 78 James, Charles, wedding gown, 1949, 66 Landon, Edward, Coat Yard II, 1942, 64 LiberIllan,Alexander, Two Circles, 1950, 70 rO

MacIver,Loren,Hearth, 1957,68 Mackintosh,CharlesRennie:Peonies, 1920,63; washstand, 1904,62 Porter,Fairfield,the Trumpet Vine, 1958, 69 Pmtscher,Otto,plantstand,ca. 1900,64 Rickey,George, Space Churn with Triangles, 1969, 71 Rosenquist,James:Gift-WrappedDoll #16, 1992,73; GiJ}WrappedDoll #23, 1993,73 Sugimoto,Hiroshi,Boden Sea, Uttunl,1993,75 Rosenheim,Jeff L. See Thomas Ealldnsand the Melropolitan Museum of Art

Thomas Faklns and the MetropoliCanMuseum of Art No. 3, 1-52 Eakins,SusanMacdowell 1891-92, attr.,ThomasEakinsinhisChestnutStreetstudio,ca. frontispiece detailshowing,from ThePathetic Song, 40; detailshowing, from TheArtist's Wife..., 41 Eakins,Thomas TheAgnew Clinic, 1889,38, 39 Arcadia, ca. 1883, 28, 29, 42, 45, 47 TheArtist'sWifeandHisSetterDog,ca. 188X89?,30, 31; detail,31, 41; photogravureof, 31 Carmelita Requena, 1869, 1s11, 42 The Champion Single Sculls CMa:)c Schmitt in a Single Scull),

187s71, 11, 12-13, 14, 42; detail,7; detail,self-portrait of ThomasEakinsrowing a scull, 4 The ChessPlayers, 1876,8, 18-19, 37; detail,BertrandGardel, 8; perspectivedrawingfor, ca. 187976, 18, 42 Clinch Mountain, Saltrille, Virginia, 1882, 46, 47 CowbctySinging, ca. 1892,32, 41 The Gross Clinic, 187976, 15, 16, 17-18, 39; detail,Dr.

SamuelDavid Gross,17;detail,ThomasEakins,17 Home-spun, 1881, 2926, 41 James Carroll Beckwith, 1904,38, 39, 40 JamesMacAlister(sketch), ca. 1895,33-34 John Biglin in a Single Scull, 1873,21-22, 41; detail,43

motionstudy:jumping,August27, 1884,SO Mrs. MatyArthur, 1900, 3g35 Negro Boy Dancing, 1878, 20, 22, 23, 41; detail,23 Nude, ca. 1882,47, 48 ThePathetic Song, 1881, 2g27, 42; detail,40 PushingforRail, 1874, 14-15, 38; detail,6 Signora Gomezd'Arza, 1901{)2, 35, 42 A StreetScene in Selle, 1870, 11 Taking Up the Net, 1881,27-28, 41 The Thinker:Portrait of Louis N. Keaton, 1900, 35, 36, 37, 39, 41; detail,37 7*omas Eakins andJ Laurie Wallace at the Shore, ca. 1882, 47, 49 Twopupils in GreekDress, ca. 1883,44, 47 7he WritingMaster, 1882,8, 1F20, 39, 41; detail,Benjamin Eakins,9 Young Girl Meditating (Fifty YearsAgo), 1877,20, 23, 24, 41 t'ThomasEakinsand the MetropolitanMuseumof Art,"4 43 'sThomasEakins,Artist-Photographer, in the Metropolitan Museumof Art,"44-51 ThomasEakinsmemorialeffiibition, 1917,39 Unknownartist:Crowellboys, Avondale,Penn.,ca. 1883; Crowellfamily,Avondale,Penn.,July4, 1883,51

Weinberg,H. Barbara.See Thomas Faklns and The Metropolitan Museum of Art Copyright <) 1995 The Metropolitan Museum of An

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