The Heritage of Egypt

in this issue:

Volume 1 Number 2 Issue 2 May 2008

The history, archaeology, and legacy of Egypt

Editor: Amgad Refai E-mail: amgad.refai@alhadara.com Published by: Al-Hadara Publishing Cairo, Egypt

From the Heritage of Africa: The Mysterious Rock Hewed Churches of Lalibela Amgad Refai

www.alhadara.com
E-mail: ask@alhadara.com Fax: (20 2) 3760 58 98 Al-Hadara Publishing The Publisher and the Editor are not liable for statements made and opinions expressed in this publication.

Tutankhamun and the Golden Age of the Pharaohs Exhibition in London Bob Partridge

Plants in Ancient Egypt Loutfy Boulos

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Making a Graphic Change Katie Hollamby

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A Memphite tomb The tomb of Kyiri Wolfram Grajetzki

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From The Editor

From the Heritage of Africa The Mysterious Rock Hewed Churches Of Lalibela
I was holding my breath when the small Aircraft was ready to land at the small airport of Lalibela, even I couldnt wait to have some rest in my hotel before I see the wonderful Churches of Lalibela. Its something I will not forget, walking in the village , and suddenly a stone cross raised from the ground, and before I wonder about it, my guide told me with very proud smile on his face This is the roof of Bet Giorgis and here, the story began In the 4th Centur y AD, two brothers from Tyre, St. Frumentius and Aedesius introduced Christianity to Ethiopia at the time of King Ezana (303 350 AD), and St. F u m e n t i u s considered the first Ethiopian Bishop. The Ethiopian church followed the Coptic Church in Egypt till the Arab conquest in the 7th Century, when the Ethiopian church lost contact with any Christian neighbors. D u r i n g t h e 12 t h c e n t u r y, the Patriarch of A l e x a n d r i a appointed the E t h i o p i a n Archbishop known as Abuna who was always Egyptian Coptic Monk. 1929, when again Egyptian monk appointed Abuna, but four Ethiopian Bishops were also consecrated as his auxiliaries , till 1950 when Ethiopian Abuna (Basil) was finally appointed , and in 1959 an autonomous Ethiopian Patriarchate was established. The first European to describe Lalibela was Francisco Alvarez, who came to the holy city between (1521-1525), and amongst most of other travelers who used to visit the place after that, they used to call it (New Jerusalem). The Original name of the place is Roha, which used to be the Capital of Zague dynasty for over 300 years, then named after the name of the legend King of Roha, and the last king of Zague dynasty King L a l i b e l a ( 118 5 1225). According to the Ethiopian legends, Lalibela grew up in Roha, when his b r ot h e r w a s t h e king, it said that the bees prophesied his great future*, The king became jealous by those prophecies about his brother , tried to poison him, but the poison nearly cast Lalibela into death-like sleep for three days. During these three days an angel car r ied his soul to heaven to show him the churches which he was to build. Returned once more to earth he withdraw into the wildness , then took a wife upon Gods command with the name of Maskal Kebra, and flew with an angel to Jerusalem , Christ himself ordered the king to abdicate in favor

* Till now Ethiopians believe that bees in dream foretell greatness, and good future.

of Lalibela, anointed king under the throne name Gebre Maska Lalibela, living himself an even more severe monastic life than before. Carried out the construction of the churches, angels worked side by side with the stone masons, and within twenty four years, the entire work was completed. King Lalibela built 11 monolithic churches in Roha; he constructed them in his Capital, in the hope of replacing ancient Aksum as a city of Ethiopian preeminence. Restoration work in the 20th century indicates that some of the churches may have been used originally as fortifications and royal residence. The churches were hewn out of solid rock (Entirely below ground leve) in a variety of style, generally trenches were excavated in a rectangle, isolating a solid granite block, the block was then carved both externally and internally, then work proceeding from top downward.

The workers probably cut free an oblong block of stone by sinking a rectangular trench in the tuff, from this monolith the stone masons chiseled out the church, shaping the exterior and the interior, retaining stones for the columns, Pilasters and arches. The roof was probably decorated by the senior masons while they were waiting for the less skilled craftsmen to excavate the walls. At each level of excavation the finishing sculptural work may have accomplish the work inside, entry was gained through the uppermost row of windows which are usually open, and only rarely provided with fillings. The level of the proposed floor was reached first of all on the western side of the church in the area of the main entrance. The excavation of such a great project poses a number of logistic problems, which might also be pondered when admiring the finished work. For example, where was the excavated

Bet Giorgis

Photo By Amgad Refai

Icon of the Virgin

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Photo By Amgad Refai

stone and ear th carried to? How many thousands humans carries must have been employed? How were the stones carried away? The answers of some of those q u e s t i o n s n e e d to o m a ny researches, and much work from Archaeologists. The churches were arranged in two main groups, connected by subterranean passageways, one group, surrounded by a trench 11 meters deep, includes House of Emmanuel, House of Mercurios, Abba Libanos, and House of Gabriel, all carved from a single rock hill. House of Medhane is the largest church, 33 meters long, 23 meters wide, and 10 meters deep. House of Giorgis, cruciform shape, is car ved from a sloping rock terrace. House of Golgoth, and house of Mariam is noted for its F rescoes. The inter iors were hollowed out into naves and given vaulted ceiling. The paintings in the churches are all from later date, some originating in the 15th century, and some from 17th-18th century. The first group of churches The churches of the first main group lie in their rock cradles one behind the other north of river Jordan. The whole complex may be divided into three smaller

groups, Bet Medhane Alem in the east, The Bet Maryam group in the center, and the twin

A monk showing King Lalibela Cross

Photo By Amgad Refai

But still the most important church of this group, is the Bet Maryam, and a legend says that king Lalibela himself favored this church above all, having attended mass there daily, a box of the Royal family of Lalibela is still shown on the western wall of the courtyard. And as well its beloved for its beautiful paintings.
Lalibela memorial stamps

THE SECOND GROUP OF CHURCHES South of River Jordan, a bastion of red tuff severed from the rock plateau in the north, east and south by a broad artificial outer trench, 11 meters deep . Another deep central trench cuts this area into two parts, leaving at its end a cone-shaped hill. The original function

church Golgota Debre Sna with the Selassie chapel in the west. Each sub-Group has a courtyard of its own, while the whole complex is surrounded by deep outer trench.

Roof Painting

Photo By Amgad Refai

of this complex of churches not yet clarified, tow of them, Bet Emanuel and Bet Abba Libanos are planned as church, while the other two might be part of residence of Zague, and seems since the fall of the Zague, they became churches too. The Bet Emanuel church considered to be the finest and most impressive church in this group with very nice paintings. And Bet Abba Lebanos connected to the legend that Lalibelas wife Maskal Kebra with the help of angels, created this church in one night. BET GIORGIS The Bet Giorgis is isolated from the other two groups of churches, dedicated to the national saint of Ethiopia. It is located in the southwest of the village on a sloping rock terrace, in its deep pit with perpendicular walls can only be reached through a tunnel which is entered from some distance away through a trench. Small round caves and chambers

have been found in the walls of the courtyard, graves for pious pilgrims and monks. The legend about Bet Giorgis says that when King Lalibela had almost completed the churches, St. George on his white horse reproached Lalibela for not constructing house for him. Then Lalibela promised the saint the most beautiful church, and the legend says that St. George supervised the work in the church in person.* No doubt that the church of Bit Giorgis is the most remarkable and special one amongst all other churches in Lalibela for its different elegant architecture. The churches of Lalibela designated a UNESCO world heritage site in 1978, and during the major holy day celebration it attracts thousands of pilgrims. The town also serves as a market centre for the Amhara people.

The village of Lalibela * Monks today still show the hoof-mark of the horse to the visitors.

Tutankhamun and the Golden Age of the Pharaohs Bob Partridge Exhibition in London*
In the late 1960s a tour of objects from the Tomb of Tutankhamun toured the world. In 1972 the exhibition opened at the British Museum in London and it was, and still is, one of the most successful exhibitions ever held, drawing record crowds and with people queuing for hours to see it. Fifty objects were selected which included the famous gold funerary mask. This was a time when relatively few people were able to travel to Egypt and it was a unique opportunity to see some of the splendid objects from the kings tomb and also an excellent way to mark the fiftieth anniversary of the tombs discovery by Howard Carter and Lord Carnarvon. Over t hir ty years on and anot her Tutankhamun exhibition began a tour, starting in Europe and with several venues in the United States. In March this year it opened at a new Exhibition Centre in London, the O2. Like the 1972 exhibition, Tutankhamun and the Golden Age of the Pharaohs also features fifty objects from the Tomb of Tutankhamun. Some of these were included in the 1972 exhibition, a gilded image of the god Ptah, the alabaster wishing cup, the portable chest, a tall cabinet on legs, the small childs chair (of ebony inlaid with ivory) and footstool, the gilded ostrichfeather fan, the little gilded shrine, a standing figure of the king wearing the red crown, and the gold dagger. This time, however, the gold mask is not included. It is too important an object to now leave the Egyptian Museum in Cairo as it is one of the main attractions for visitors there. Also included is one of the miniature gold canopic coffins, a canopic stopper but not the same one as last time - and a royal crook and flail but again, a different set from 1972. All of these objects are well known and o f t h e h i g h e s t q u a l i t y. I n addition to these objects, some of the main items to be included in the new exhibition are the kings silver trumpet, a superb stool, one of the ceremonial shields, three pectorals, the ankh-shaped mirror-case, an

The little Gilded Shrine of Tutankhamun

* Photos: Bob Partridge, courtesy of the Tutankhamun and the golden Age of the Pharaohs Exhibition, the Egyptian Supreme Council of Antiquties and the Egyptian Museum in Cairo.

Detail of the gold and inlaid canopic coffin of Tutankhamun

alabaster unguent jar (the one with the lion on the lid), and the box in the shape of a cartouche. O n e o f t h e l a r ge s t objects from the tomb to be included is the lifes i z e d p a i n te d wo o d torso of the king; the other main object is the gold and inlaid royal diadem found on the h e a d o f t h e k i n g s mummy. There are some major and unique pieces here and this selection is far from being a poor relation of the 1972 exhibition. These and the other objects are beautifully illustrated and described in a book Tutankhamun's Wishing Cup Tutankhamun and the G o l d e n A ge o f t h e Pharaohs written by Dr. Zahi Hawass and seventy other key exhibits are on display, many published by National Geographic. The book of which are major pieces that have not left is illustrated with specially commissioned (and Egypt before. Most of these date to just before stunning) photographs by Kenneth Garrett. his reign and are connected to members of his family. This new exhibition is, however, much more than just Tutankhamun and it aims to put his reign and time in an historical context. In addition to Tutankhamuns treasures, some Objects are included from other royal tombs in the Valley of the Kings, notably from the tombs of Amenhotep II and Thutmose IV. Often

The gilded coffin of Thuya

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Pectoral of Tutankhamun showing a winged scarab beetle damaged by robbers, these objects are similar to many intact examples found in the tomb of Tutankhamun. The reigns of earlier r ulers are also represented, including Thutmose IV (a magnificent life-sized granite double statue of the king with his mother is included) a n d s c u l pt u r e f r o m t h e r e i g n s o f Amenhotep III and Akhenaten. One of the largest pieces in the exhibition is one of the well-known heads from a colossal statue of Akhenaten found at Karnak, and there are several other famous Amarna pieces. Many splendid objects are included from the tomb of Yuya and Thuya, found some years before that of Tutankhamun in the Valley of the Kings. The gilded coffin and mummy mask of Thuya and ornate pieces of furniture show the wealth of the reign of Amenhotep III.

The gold and inlaid royal diadem found on Tutankhamun's mummy

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In his opening remarks, Dr. Zahi Hawass made it clear that the aim of the exhibition was to help raise funds for the new Grand Egyptian Museum which is being built at Giza and also to help to conserve objects in Egypt. It has recently been repor ted that the final restoration of Tutankhamuns sixth chariot, which has never been on show, has taken place; one can appreciate the time and costs involved in this work. The Egyptian Museum now plans to conserve the four gilded shrines necessary anyway, not just to enable them to be moved to the new museum in a few years time and of course this task will have to be undertaken for every object to be moved. Dr. Hawass said that 75% of the Statue of Thutmose IV and his mother exhibition ticket receipts will go to Egypt. At 15 for adults on I have been lucky enough to visit the London week-days and 20 at the weekend, the exhibition twice. I have seen all the objects many times before in Cairo and I was looking forward to seeing how they would be presented in this new exhibition. I was very impressed. This is a truly stunning exhibition. Most of the objects included are spectacular; they have never looked better and the information provided in the labelling is accurate and informative. Each object is given much more space than is possible in Cairo, and can be seen from all sides. The quality of the display and lighting means that the objects can literally be seen in a new light. Tutankhamuns carrying chest and small chair look like they were made yesterday. The exhibition had been criticised in the United States and in the UK press for the background music, but I was so fascinated by the objects I have to say that I really didnt notice it! In the US, the exhibition was accused of being theatrical; I think the only instance of this in the UK version of the exhibition is where reproduction ancient columns almost overwhelm a colossal head of Akhenaten. However, perhaps those who criticised the rooms containing the objects should have spent more time looking at the objects themselves!

Chair of ebony and ivory used by Tutankhamun when he was a child

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exhibition is still good value for money. The exhibition in London is proving hugely popular and it runs until August. It both educates and enlightens visitors about the art and culture of ancient Egypt and I have no doubt that it will inspire many to want to find out more about Egypt and even to visit the country. As such the objects on display are working hard as ambassadors for Egypt. Most importantly, the objects are helping to raise much needed funds. When the exhibition closes in London, it will then travel again to the United States, as will a similar exhibition which is currently on in Vienna. By the time all the objects return to Egypt they will have a new home, the Grand Egyptian Museum, and one which they will have helped to fund. I have no doubt that many people having seen the London exhibition will want to visit the new museum and to see all the other Tutankhamun pieces and the wide range of splendid objects from all periods of Egyptian history which will be on display there. However, if you cannot visit Egypt and you are in London in the next few months, the exhibition is one most definitely NOT to miss. For more information on the exhibition you can visit the web site www.kingTut.org Bob is Editor of the UK magazine Ancient Egypt www.ancientegyptmagazine.com He is the author of a number of books on ancient Egypt including Transport in Ancient Egypt Faces of Pharaohs: Royal Mummies and Coffins from Ancient Thebes and Fighting Pharaohs: Weapons and Warfare in Ancient Egypt. Head of a statue of Queen Nefertiti

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Plants in Ancient Egypt

Loutfy Boulos
Our knowledge about the plants of ancient Egypt is based on the plant remains found in the archaeological sites and tombs, as well as from the documented information on papyri and plant motifs which appear on the temples. Plants have played a major role in the daily life of ancient Egyptians including agriculture, industries, food, building material, artwork, and other activities. Agriculture and agricultural products E g y pt i a n a g r i c u l t u r e w a s p r o b a b ly established some time during the eighth millennium BP (before present) with a range of domesticated crops. The earliest finds of Emmer wheat (Triticum dicoccum) and barley (Hordeum vulgare) in Egypt date to 7300-6000 BP marking the beginnings of one of the most accomplished examples of plant-people interaction in history. Ancient Egyptians were probably the first people who made bread from wheat and brewed beer from barley. The importance of both bread and beer in ancient Egypt, widely attested in many documentary sources, including offering lists, proverbs, scribal exercises, and administrative records. No meal was complete without bread and beer, and everyone in ancient Egyptian society par took of t hem, from pharaoh to t he labouring peasant. The frequency with which well-furnished tombs were provided with loaves of bread and jars of beer, and the many artistic scenes of baking and brewing in tombs demonstrate how the ancient Egyptians aimed for an equally abundant supply in the afterlife. Vines (Vitis vinifera) were planted for grapes either in gardens for home consumption, or in vineyards for the production of fruit for wine. Vegetables and pulses Ancient Egyptians also cultivated onion (Allium cepa) and garlic (Allium sativum). Herodotus recorded the vast quantities of onions and garlic consumed by the builders of the pyramids of Giza. Garlic, besides a favourite food, was used medicinally and as a preservative, which may explain its association with mummies. Several other vegetables were cultivated in ancient Egypt: lettuce (Lactuca sativa), melon (Cucumis melo), cucumber (Cucumis sativus), watermelon (Citrullus lanatus), radish (Raphanus sativus), lentil (Lens culinar is), chickpea (Cicer ar ietinum), coriander (Coriandrum sativum), cumin (Cuminum cyminum), black cumin (Nigella

Nymphaea lotus

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Fruit Trees Three palm trees were known from ancient Egypt: Date palm (Phoenix dactylifera), dom palm (Hyphaene thebaica) and Medemia palm (Medemia argun). Fruits of these palms were frequently found among other offerings in the tombs of ancient Egypt. Other fruit trees in ancient Egypt include sycomore fig (Ficus sycomorus), Common fig (Ficus carica), pomegranate (Punica granatum), carob tree (Ceratonia siliqua), Olive tree (Olea europaea), Egyptian plum (Cordia myxa), Christ's thorn (Ziziphus spina-christi), persea or lebbakh (Mimusops laurifolia) and henna (Lawsonia inermis). Papyrus The papyrus plant (Cyperus papyrus), from which the ancient Egyptians manufactured their writing material, the papyrus sheets, served to record written information of their activities since the third millennium BC in the form of rolls, as the sheets were joined together. Papyrus was symbolized by the papyrus columns frequently seen in temples of ancient Egypt.
Hyphaene thebaica

Flax The flax plant (Linum usitatissimum) was cultivated in Egypt since predynastic times. The majority of the textiles of ancient Egyptians were of linen made of the fibers of f lax. Turning the flax plant into a piece of cloth is an elaborate process. However, a variety of types of linen cloth were already produced in the Neolithic period c. 5000 BC. Ancient Egyptians were probably t he first who manufactured cloth items from plant fibers. Lotus Two species are known in Egypt: the whitef lowered Nymphaea lotus and the blueflowered Nymphaea caerulea, and are still growing in the canals, especially in the Nile Delta region. Lotus f lowers were used as offerings in ancient Egypt. Lotus columns are frequently seen in the temples. Tools and objects Numerous tools and objects of plant origin are known from ancient Egypt. Mats were made of sedges such as Cyperus alopecuroides and Cyperus articulatus. Floor mats were made

Cyperus papyrus

sativa), celery (Apium graveolens), fenugreek (Trigonella foenum-graecum), garden pea (Pisum sativum), faba beens (Vicia faba), lupin (Lupinus albus) and earth almond (Cyperus esculentus).

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Ficus sycomorus

Medemia argun

The two grasses used were Desmostachya bipinnata and Imperata cylindrica, which are known as halfa grasses. These two species frequently grow throughout the country near cultivated ground, and are still growing in similar habitats in Egypt. The strong midribs of date palm leaves were used for making chairs, tables, beds, an industry still going on in rural regions and the oases in Egypt. It is believed that the basket, in which Moses the child was found in the Nile, was made of the hardy stems of Ceruana pratensis, a plant still growing along the Nile banks in Egypt. Wood Native and imported woods were used in ancient Egypt to manufacture different objects. Native species include Acacia nilotica, from the Nile valley, and Acacia tortilis, a desert species, carob (Ceratonia siliqua), sycomore fig (Ficus sycomorus), olive tree (Olea europaea),

from rushes such as Juncus rigidus and Juncus acutus. Baskets were made of culms of the ordinary read Phragmites australis and the bamboo-like reed Arundo donax. Palm leaves and grasses were widely used for making baskets and mats. The most common palm leaves used are those of date palm (Phoenix dactylifera) and dom palm Hyphaene thebaica.

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Many other plants, growing wild, were recorded from the excavation sites, their remains could be identified by comparing them with the present vegetation.

Acacia nilotica

tamarisk (Tamarix aphylla), Christ's thorn (Ziziphus spina-christi), dom palm (Hyphaene thebaica) and date palm (Phoenix dactylifera). Among the imported woods are: field maple (Acer campestre), common box (Buxus sempervirens), African black wood (Dalbergia m e l a n ox yl o n ) , c o m m o n a s h ( F ra x i n u s excelsior), persea (Mimusops laurifolia), cedar of Lebanon (Cedrus libani), cypress (Cupressus semper virens) and Aleppo pine (Pinus halepensis). Different objects were made of these woods, such as arrows, coffin dwells, sarcophagi dwells, boxes, bowls, spoons, pins, knife handles, combs, musical instruments, toys, boats, cabinets, furniture, sculptures, statues, roof timber, wheels, wagons, paddles, barrels, ladders, water pipes, flooring and monumental doors. Dyes Ancient Egyptian textiles were dyed mainly in blue or in red, and less frequently yellow textiles were met with. The plants used as a source of blue colour were indigo (Indigofera species) or woad (Isatis tinctorum). Red colours were mainly from alkanet (Alkanna tinctoria) and henna (Lawsonia inermis). Yellow was mainly produced from pomegranate (Punica g ra n a t u m ) a n d s a f f l owe r ( C a r t h a m u s tinctorius).

Cyperus esculentus

Punica granatum

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Making a Graphic Change

Katie Hollamby
It would be hard to argue that there has ever been a more fascinating civilization that has walked on the face of this earth than the ancient Egyptians. The treasures that they have left behind continue to marvel the 1.8 million visitors from around the globe every year that come to The Egyptian Museum. Yet the way this national museum has been maintained since it opened its doors in 1902, is just as astonishing.

awareness, and impact of organizations or c a u s e s t h a t s u p p o r t s s o c i et y a n d t h e environment, through creating successful graphic design components and systems. Sometimes its the simplest things that make the biggest difference. In this case, its a lack of general information that prevents visitors from getting the most out of their experience at this museum. For instance, if you come across a fist-sized stone that slightly resembles a human head in a random case without any The Egyptian Museum Graphic Improvement Project (TEMGIP) began as a simple dream to dramatically improve t he image and functionality of The Egyptian Museum by creating the first complete signage system and brochure. Walking away from h e r i n i t i a l v i s i t to t h e museum in 2004, Rebecca We i m e r ( a U S A - b a s e d Graphic Designer) decided to turn her dream into a reality. The inspiration to pursue this dream is what fuelled her to star t a non-profit organization Graphic Change, Inc. that works to improve the effectiveness,

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i n fo r m a t i o n t o t e l l y o u i t s significance, youre likely to walk by it. But if there was a label that told you that this was the earliest 3-D human figure ever found, initiating sculpture some 7,000 years ago, you would gain much more appreciation for it. This is the underlying goal of TEMGIP. Graphic Change has been in Cairo since November 2005, producing the first brochure and developing a complete signage system, consisting of 330 signs that will allow visitors to easily understand what they are looking at, while smoot hly navigating the museum. As we begin to face the enormous challenge of modernizing this great institution, we are fortunate to have the support of Graphic Change, an American non-profit organization. states Dr. Zahi Hawass, General Secretary of the Supreme Council of Antiquities (SCA). In designing the signage system, there were many things that needed to be considered. It was important for the overall look and feel of the system to marry the Neoclassical

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structure of the building with aspects of the ancient Egyptian culture. A g ranite-like material called Corian was chosen to fabricate the signs, based on the fact that granite was not only widely used by the ancient Egyptians, but also during the Neoclassical era. This material was also chosen for its properties of being more durable than actual granite, making it very easy to clean and maintain. One of the most important aspects of the system is to communicate clearly to the broad international audience. The use of iconic symbols is t he most effective way to communicate to all languages and cultures. The idea of using ancient Egyptian hieroglyphics to identify the various collections in the museum as well as its facilities, bridges the communication gap and lends itself well to the concept. The use of color was also and important aspect to consider. Color is a great way to identify and unify several different display rooms that have a common theme or time period. A color code system has been created to help differentiate multiple time

periods displayed on the lower floor, and various themes displayed on the upper floor. Sustainability is key, and plays an important role in this project. The signage system will therefore be installed in a framework on the walls and will be able to click and lock into place, making the system not only safe but also versatile to accommodate continuous changes that occur within the museum. Taking sustainability a step further, the brochure Graphic Change has produced and copyrighted will be sold at the museum to financially sustain the new signage system and Graphic Changes effor ts. The brochure contains the most up-to-date, complete and comprehensive maps, created by Graphic Change, now used by the museum to help create their catalogue database. Each section of the museum is clearly color-coded with general information about the topic and items displayed in that section. Information about museum hours, admission costs, general guidelines, infor mation for visitors in

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wheelchairs, contact information and general information about the museum itself are also included. The entire project has been created by Graphic Change and approved by the SCA. Corporate or personal sponsorship is now being sought to be able to implement the project. In order to realize this ambitious and vital project, t he Supreme Council of Antiquities, through Graphic Change, is seeking financial support to assist with the funding of this important project. states Dr. Zahi Hawass. A variety of companies have already stepped up to support different aspects of t his project. DuPont has g ranted a discounted rate for their Corian material, McDonalds has sponsored the first 3,000 brochures, and Kwik Kopy has printed 75 project por tfolios t hat have aided t he fundraising process. Once full funding becomes available, it will be a 4 to 6 month process until the entire system will be installed. Sponsorship benefits include a company logo with a line of appreciation permanently inside the brochure, a logo on the Sponsorship plaque permanently displayed inside the museum, and a logo on 3 banners, prominently displayed in t he museum dur ing t he installation phase of the project. These benefits will be seen by approximately 5,000 people from around the world who visit the museum everyday; almost 2 million every year. Benefits also include an off icial cer tif icate of appreciation, (signed by the Secretary General of the Supreme Council of Antiquities and the Minister of Culture of the Arab Republic of Egypt), that will be presented at the grand opening event, accompanied by the press. For more information about this project and sponsorship, visit www.GraphicChange.org Companies interested in sponsoring this project can contact Rebecca Weimer at rweimer@gmail.com. Katie Hollamby is an Event Manager and Fine Art Photographer, living and working in Egypt.

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A Memphite tomb The tomb of Kyiri

The places now famous for ancient monuments are often not the same, as the ones anciently celebrated. For the New Kingdom, Thebes remains the centre of attention for the modern visitor. There, on the East bank of the Nile is the temple of Karnak, and, on the West the hundreds of tombs belonging to the officials at Thebes West. For a stranger, visiting Egypt around 1150 BC, the picture must have been different. Coming from Palestine he would soon reach Perramesse, the royal residence in the Eastern Delta. As described in poetry of the time, the city had several monumental temples similar in size to those known from Karnak, there were palaces of the king and the g reat mansions of the state officials. Traveling South, the visitor must have passed several more towns with major temples and palaces, such as Bubastis or Tell elYahudiya. At Heliopolis, there was a further

Wolfram Grajetzki
massive temple complex, on the same scale of the one we can still see today at Karnak. Across the river, at Memphis, stood the second city of New Kingdom Egypt with several palaces and again a huge temple complex of about the same scale as the one at Heliopolis. All these temples and palaces are today almost entirely vanished: most often, it is even no longer possible to reconstruct the plan of these buildings. Somewhat better known are the cemeteries of Memphis, at Saqqara. Especially the tombs and pyramids of the Old Kingdom from about 3000 to 2200 BC are well preserved. However, it should be made clear, that they formed the lowest level at Saqqara protected by sand and later buildings constructed over them. The cemeteries of the New Kingdom were at a higher level. Therefore, they were the first to be destroyed already in Antiquity. Egyptologists often tend to look at the few places with ideal preservation conditions for architecture or organic material. These places are too often regarded as typical for the whole of the country of a specific period. Thinking about private tombs of the New Kingdom, most people will think about the Theban rock cut chapels often nicely decorated with paintings and sometimes with reliefs. These chapels and the tombs under them reveal a small part of Egyptian society. They belong to the highest court officials in the one century from Hatshepsut to Amenhotep III. People in other parts of the country and of different income were buried in different types of tombs. Only in about the last twenty years have we become fully aware that there was in Memphis a cemetery of the New Kingdom with many impressive tombs belonging to the state officials from the fo l l ow i n g c e n t u r y, t h e t i m e o f a b o u t Tutankhamun to Ramses II in the Nineteenth Dynasty. These tombs are of ten poorly preserved. One example is the tomb of the overseer of craftsmen of the Lord of the Two Countries, Kyiri. His chapel and its decoration may be presented as one example for a Memphite tomb chapel of t he late Eighteent h or early

Man at scale ( Grajetzki)

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and to gain an idea of a typical Memphite tomb chapel of the New Kingdom. Not much can be said about the architecture of this specific chapel. The chapels at Memphis were most often built along the same line, so that some general statements are possible. Nevertheless, each tomb had its own solution for certain problems, so that we will never be sure about the plan of the tomb in detail. Each of the chapels had a main, inner room. This was the place where the funerary rites for the tomb owner were performed. Many chapels at Saqqara had even three inner rooms placed side by side and for certain reasons it can be assumed that the tomb of Kyiri also had three rooms at the back. In front of them there must have been a cour tyard, as can be reconstructed from pillars with the name of Kyiri and from the blocks found. Whether the tomb had a second courtyard, as many bigger tombs, might be doubted. Kyiri did not belong to the highest officials at the royal court; although he was certainly an important person, he did not belong to the absolute top. His chapel was therefore probably relatively modest in size.

Scene showing magazines, in the middle there are arrows, at the bottom there is a chariot ( Grajetzki)

Nineteenth Dynasty, around 1300 BC. The tomb of Kyiri must have been already destroyed in ancient times. All its known decorated blocks were found built into the monastery of St Apa Jeremias. Many of the blocks found belong to the lowest level of the chapel indicating that it had been enough already in Late Antiquity found extensively destroyed, the upper blocks removed much earlier. However, enough decorated blocks were found reused in the monastery enable us to reconstruct some walls

Detail of the funerary procession of Kyiri: the coffin and behind it the vizier as guest of the procession ( Grajetzki)

24

In the courtyard there must have been shafts leading down to the burial chambers. Here were placed the coffins or sarcophagi of Kyiri and his wife and perhaps of other, household or family members buried there. Nothing survived from the burial equipment and the shaft, which is perhaps still lying buried in the sand at Saqqara. It also remains unknown whether Kyiris chapel had a small pyramid as did many other New Kingdom tombs at Saqqara. From the decoration, it can be said that the best preserved walls of the chapel of Kyiri seem to belong to the small courtyard. On one of the long sides were found scenes relating to the office of Kyiri, on the other side there were scenes relating to his funeral. This arrangement with daily life on the one side and the passage to eternity on the other side is often found in other Memphite tombs in the period of Tutankhamun to about Ramses II. On the wall relating to the office of Kyriri, he is sitting on the left together with his wife Iyemia. In front of him a son is making a royal offering to the Osiris Kyiri. The other part of the wall is occupied by scenes of workshops. On the left Kyiri is shown sitting again in front of a magazine building, where chariots, arrows and a scale amour shirt are shown. These are certainly products of Kyiris workshop. From other texts we know that Memphis was an important industrial place. The main deity of Memphis was Ptah, the god of crafts and arts. Therefore, the titles of Kyiri and his tomb in the Memphite region do not come as surprise. On the right side of the wall, the workshop itself was depicted. There is a man shown at a scale and craftsmen working in two registers. We see an oven for metal-working and perhaps carpenters producing furniture. In three lower registers are men bringing all these products to Kyiri. They carry chariots and smaller objects. From his titles it is certain that Kyiri was in charge of the armour production, especially for chariots. He was overseer of the craftsmen for chariots, but also overseer of the craftsmen of armour production and simply overseer of craftsmen. From the depictions in the tomb it seems certain that most of these items were produce in one workshop. Chariots and furniture were perhaps made by the same people in a specialized combination of metal wood.
Plan of the tomb (reconstructed), the dark black wall are at least partly preserved ( Grajetzki)

The other side of the courtyard presents the funerary procession of Kyiri. On the left is the coffin of Kyiri, in a shrine, placed on a boat with wheels, drawn by cattle. Behind the boat, there are the guests of the procession visible. Kyiri was certainly an important person of his day and therefore influential people joined the procession; most importantly, the first person appearing there is the vizier, the prime minister of Egypt. Two viziers governed Egypt in the New Kingdom and one of them had his office in Memphis. In front of the procession female mourners are standing and three men carrying boxes, perhaps part of the burial equipment. At the right end a ritual called breaking the read pots is depicted. Several other scenes in the tomb show Kyiri with his wife. In one of them a monkey is playing under the chair of his wife. In another scene Kyiri is shown in adoration, in front of the four children of Horus. In another priests and female mourners are depicted in front of his mummy or he and his wife are kneeling in front of the tree goddess who is pouring water into their mouths. The small courtyard in the middle of the tomb chapel was adorned with at least two,

25

The remaining blocks of the funerary procession; most likely once from the south wall of the courtyard (from Quibell)

but more likely with four pillars. On these Kyiri is shown holding a djed-pillar. This is a typical scene known from New Kingdom pillars i n t h e M e mp h i te r e g i o n . O n e o f t h e inscriptions on the pillars seems to identify it with Sokar-Osiris, one of the most important deities of the Memphite cemeteries, although the further text on the pillar of Kyiri refers to Tawer, the province of Abydos in the South. Altogether, the architecture of the tombs is different from the tombs at Thebes. In Thebes, there were rock cut chapels, in Memphis, there were chapels built of blocks above ground with the burial chamber below ground. Beside the architecture in general there are other differences between Theban and Memphite tombs. One of them is the innermost cult

chapel. In Thebes, and in at many places in Upper Egypt in general there was a statue of the tomb owner, showing him and perhaps also his wife and mother. In Memphis, there were also many statues placed into the tomb chapel, but in the main chapel, there was a stela, showing the tomb owner and his family. Indeed there was found a fragment of a stela with the name of Kyiri, most likely belonging to the main chapel. The tomb chapel of Kyiri is only preserved in loose blocks. From other chapels often, just single fragments are known, and any reconstruction seems impossible for them. Other chapels have been found in excavations, including the famous tomb of the general and later king Haremhab. While the Old Kingdom is a well known chapter for the history of Saqqara, the research on the New Kingdom has just begun. It is cer tain that future discoveries at Saqqara, and also in museums will reveal a little known part of New Kingdom history and art. Further reading G. T. Martin, The Hidden Tombs of Memphis, London 1991 (still the best overview on the New Kingdom tombs at Saqqara) J. E. Quibell, Excavations at Saqqara (19089, 1909-10), Cairo 1912 (the publication of the blocks, see pl. LXV-LXXX) Discussions of the tomb: A. Horold, Ein Puzzle mit zehn Teilen Waffenkammer und Werkstatt aus dem Grab des Ky-jrj in Saqqara, in: Es wurde niedergelegt ein Schriftstck, edited by N. Kloth, K. Martin, E. Pardey, Hamburg 2003, 193-202 W. Grajetzki, Das Grab des Kii-iri in Saqqara, Jaarbericht, Ex Oriente Lux 37 (2001-2002), 2003, 111-125

Three views of one of the pillars (from Quibell)

26

Flora

of

Egypt

Loutfy Boulos

Volume One (Azollaceae - Oxalidaceae) Important families: Azollaceae , Leguminosae, Cruciferae, Caryophyllaceae, Chenopodiaceae, Oxalidaceae.. Pages: i-xvi, 419, with 544 line drawings in 67 plates, 94 colour photographs, and index to scientific names. Date of publication: February 1999 ISBN: 977-5429-14-5 Volume Two (Geraniaceae - Boraginaceae) Important families: Geraniaceae, Zygophyllaceae, Euphorbiaceae, Malvaceae, Umbelliferae, Asclepiadaceae, Convolvulaceae, Boraginaceae.. Pages: i-xvi, 352, with 409 line drawings in 71 plates, 94 colour photographs, and index to scientific names. Date of publication: November 2000 ISBN: 977-5429-22-6 Volume Three (Verbenaceae - Compositae)
Important families: Compositae, Verbenaceae, Labiatae, Solanaceae, Acanthaceae, Plantaginaceae, Scrophulariaceae.. Pages: i-xvi, 373, with 384 line drawings in 77 plates, 128 colour photographs, and index to scientific names. Date of Publication: December 2002 ISBN: 977-5429-25-0

Volume Four Monocotyledons (Alismataceae - Orchidaceae) Important families: Gramineae, Cyperaceae, Alliaceae, Najadaceae, Potamogetonaceae, Iridaceae, Amaryllidaceae, Lemnaceae, Palmae, Orchidaceae Pages: i-xvi, 617, with 404 line drawing in 130 plates, 159 colour photographs, key to major divisions and to families, Vernacular-Latin / Latin-Vernacular names, glossary of botanical terms, and cumulative index to genera and families. Date of Publication: August 2005 ISBN: 977-5429-41-2
Orders to: Al-Hadara Publishing 7 Abou El-Seoud Street, Dokki 12311, Cairo, Egypt. Fax: (20-2) 3760 58 98 - Mobile: (20-12) 316 48 67 E-mail: ask@alhadara.com - E-mail: hadara@idsc.net.eg

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22

bL_ dN pc ,"d" t WO v pKLK b s uJ vDu Wb bN v XU )Wu( v )qB( WOIOuL W_ WO vK UU qL vuD tN t qL gI U vU vK ,u tN h uFO c vKOM uD_ UH WE b ,dI vQ .vUd vUuO bNF v uNE v vK uI tN bUF b bLF b uJN b WK_ r s OK dF UNM vI U t ,WUM bUFL uM v lI u uN "YU ULM" UM bFL u UL .)tO dB (od tOK oK b ,UM td s qC s dF XAKU "_ duM" dN UM bFL oKL tKO dO tA u ,bUFL s uM c Wb WK_ .UI "vU vO" dN qbL eOK s "_ duM" UM bFL uJ pKLK WU qOUL UN n XU WFd bLQ U UM tOK UJA v UMH R ."dH" u bFL U U jL vK sdBMF scN jO ,b_ b r fL qOUL WUM bUFL dO tA UL UL s UuL sd .WU WU sOd v UM bOOA uN rE Wb Wb bN dF c ULFL jLM nQ ,WLbI WdBL ULF aU UJ od tbI d s bNF p v tN bUF v U vK ,UNK tu iF s t jO W uAJ UM r U U bUFL s ,b_ b qJON r bL_ uN p dUMF c lOL lI uN s d t U U UNM UM t bUF U UU U bFLK vOzd uL u b u vK ,WK_ iF v t Uu U qOM dN d l uL c bF WU v bU( rOI j s U bFL u U p bIH uLMU t `L UL )bOQ "_ vO" v R d WOM WON WU{S p ,WULFL tb U uN v UJ qOUL t n od U bFL v WU{U bFL u vK bOQ u UULF tM dG v Wed WUL vK UJLK Wd UD sK s r{ u bFLU jO .bFLK qOUL c UNKHJ ozb U U WMNJK sU UC rC U c Vu qJA v jzu UUO XU ,WbI dO WO_ UOLK pc ed UN UI U UL WdF u .u UM WuI v WOzUA bzU UUO UN U )u( WKOD ULNbU sOKzU sOd s nQ bFL d U d q WU jO qb v ULNb qOL qb ULNMO XU d q tN v ,dBL gOuJ tu )WdO( WLC qOUL dB bI XU UL d sOU uI .d UK tU uI UUO pKLK tu iF jO UU dUM d UJ bFL UM U UMH b vK U WUL WuI UH UNK UI UNK qGA dO WU s U bL_ uN .uI s WOKb s dA WFU d_ bUF v nQ tKLQ bFL d sOU vHI s UUH d tHI tM j_ ,W W U{ cuM UUJ `D u v UH c s ZM

fL vK u dBM s nP vU ,uAJ UM tOK ,fL tzULQ W vK XU UL pKL qOUL UJA e c vNM UL s UuL dBMF cN jO u U U UU c b_ b qJONU WOdG tN s Wb v UM bFL d b .vL U WO vK u vK bN v p ,uB c v q v qd bF WLbI WUGK WDO dOG bNF cN WIU WK_ XUJ "dH" dNU U UM bFL bO dN UM bFL q bN bI "uu" pKLK UM bFL U ,uAb vMML s XU v WO{ WDO U u tM o r d s WU d WUM bUFL eOL b ,u_ XU UN UL WU UL WFz uIM WMeL UNb UNb WKu Wd UMH bI c bL_ uN b bUFL v u b WU d_ bN s b ,WMe UUb q XK v WOUM sOU_ s d W WUM c .WFd d_ UL v bzU WKODL WFdL We WO vK sOU_ WOKOM sOU_ v dD U qL s WOUM sOU_ bF ,WOuK sOU_ d v_ rzUbK UOd du dF WdBL ULF td fuK d ue WMeL UM u U_ d s uD_ .Wd ULF v UN dL qOM nF c uD_ U , s nF tu fK tb vKOM d UB s WuL tb qLO d We WO vK WIKL bUFLU dD c dN b ,WuLC rd vNM v uD_ qL pc ,dO uQ "uU" " d v" vdN vK s WuLC rd fuK UB s WuL fuK _ sJ ,d We uD sO tMO jK v R UL ULMO dz UB l qJ vK b bM dzb WFDI v_ dLK dN pc .UK WOUL WO vK vU lDI .jO vuD uLF "uU" WuLL u vML UNK bM ,vDu Wb s tN bUF v UdE bUF bOOA uJN b vK UNb V p ,db b UM WKOKI WK_ s .Wb Wb v UNUJ bb d uM v{U WMb bF u vDu Wb v WOMb ULFK tM vI U ,UM d s nQ U t bIF uOH d t r ,d We WO vK sOuD UN WH u qb d b .U uBI W v R W{dF ou U vK pdJ v "u" bFL YU dB bU s vML uJ ,tzUM U sJ b "_ duM" qL ,UFd uL dA W UNOK uI qJA WFd WFHd v nAJ r b .dBL gOuJ tu UHI bL_ c nA UL ,vDu Wb s bF U s dB_ uM )u( u bF tUA ubOL "YU duM" bN v d s UN W{dF t s nP c ULNDD v ubO b UNHMJ UNOd s WuH ju v uBI UNOK bL d uNE vDu Wb UL eOL b ,dOG UU Ud oU u WU{U bL_ UUb s bb vK c uD_ v WU{U .WLbI Wb v UuN bL_ dN bI fuK uD_ d We WO UL UNO bM WFd WOzUA WU s U v )Wd_(

21

Wb bN v ld U UU bOQ )uOM vM( bFLK bFL c d dF ,d_ vDu sOb v U c W uBIL WLbI Wb s WN bUF s o r .Wb c uOHU WUB dB bF dF ,UM qOKI WK_ c b WU d_ WUN v ld U UU UNd WDO WKOD WNu bFL c eOL .UM dOUI l bu tUN v oO{ UM tOK b U t bUF WU d_ uK VK bO b .U bO c p u rNM vI U r fLA ,UI d UL dO u s dIU " d v" pKL nQ ,fL sOF "" t bF s W t bIF odD qB u vM tOK oKD r{ qb s WFHd u uKF c bFL v R uI bU WOM UL tK u t vU_ dBMF ,u s UM ju WKzU UND WFd bU u U_U .d_ s `c t uAJ Wb v WUM bUFL W v b q XH b u bUF VK v U b ,WLbI UH UU b U V U p UdI bI l .UN v V UL WOe _ u ULMO t dN WU Ud_ UM v `{u v dB t WDOL UL b WU XBI bF UM bF ,vU dOG d :WOU dUMF b ,bU od sbFL sO qB ,u WU bM WOdN WuLL r ULFL suJ c vK oK WU{U WOzUA d{ dUMF c QAM U UL s WuDIL U b UJ ,vMb b v v tOK qIM od s UN b U UL ,tO qB vd oBK UM bFL U .u s lHdL UM lu qL v tDD rIM ,dNK vdA VU nBML bL uN s uJ _ :U d U e v u

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20

dD U ,sK s UC u dOG d uBIL uKF sK tKb u _ vK eJd d s U uN vU sbK WBBL e_ WMbL d dUI eOL .uBIL dH UL ,WuKL WOMb dUMLU WMe UNK _ qH tO dA WKzUF dI r tOK oKD ULF dD WIDML .b UM v WUF UO W qL U dOUI W s b WOJKL dILK ULFL uD l v Ub "VuM X V" pKL dI b bI vDu Wb d_ Wb v ULFK U bb qL WO vd v WLbI Wb v WOJKL dIL s nK v ,dA WU UNM uJ v dUMF iF v tUA iF bu U .rOLB vK rdUI UM v dA WOU d_ uK dL b XU UL UM WId v nK XU UN ,Ud WO bI ,WLbI Wb WUN v XOM v pK s UL d WKULL WOU UU{ dN u Xb d s bOAL WFUIL b s suJ vbMN edL s b c bL ,sK lK{ q j v pc WF_ tU v dNK WFUIL b pK sO WUM UdH L r dN U r dO ,sK UI qdU c XF b ,bO dO dU U s b ."YU duM" bN v UM v WIdD dJ dA WOU d_ Ud UL eOL qOKC v WUJ U dG eOUb U_ lD v WIzUH UNL XK UL ,uBK uN "YU ULM" dN sb Wd v UNKI d s b WFD s WdG XFD YO .s WzUL UN uH XeuJ u tdI dH s "_ fL" U bI ,Wb Wb uK s WO vdG uKL UdH UM bFL s WOJKL dIL qB UN{dF d s p qKI UL bOF vH UJ v c vdN qJA s vK v p ,VNMK rIM .UM UNU W s UJ vK b U ULN ,sODL v Wb Wb v WOJKL dIL su t ULNOU rOI b uL eOL WuL s dIL uJ ,W UUO sbUF UNMO qBH WDUN eOUb bML dLL s lU sb WdG vNM ,Ub s WuL vK u _ jLM v b u vK dG vO dI dF ,vU jLM v d su Ud YO s uU WOJKL dUIL rE _ .UF UNuI v b ,WUM ULF UM{dF bF bUFL qUON bM WOMb ULF W u s vM XU d_ q U dB v v_ VA UUM s uHCL u_U nK WFd b ,UUb v V UL dOBU vDGL

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19

dUI v WULFL dUMF r s ."d" UNOK WN v bu b vLu U WLbI WbU d_ b ,uBIL vKb vdG b v WDBL qJ WU WU sOd_ v vLu U c v WDBL qb dG b UL ,dBI WN vK b UL XuM UDDL XHK dH bN v U c ULFL dD s b c d iF qb nMJ U UUO U ,"dH" "uu" .UdOG UK uBIL vDu Wb v d_ dUI UL XHK b dB v uHL dUIL d U ,oUML U WDOL dUIL XK ULMO vDu dB bOFB v WDM YO uOHU bNF c uK UdQ rdUI rOU UJ dH b ,VU qJ vK vM Ud s vM UNL s oUM b v WCN `H v vM dUI v R U .u dOJ U uO tUN v UM uBIL bI ,bU od s v uBIL U ,sOFKC suL UN tH WOdA WOU d_ bN v - u UJ dB v uH Ub v ,UFK{ dA W bL WF vK - dA UJA dILK vOzd uL vK )vdA( vHK v d_ dUI nK ,dB v WuML qOULK U WULFL qOUH v UNMO ULO Wb Wb q t v uH WO v XU UN dO dO

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18

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- Patrick Boylan, Thoth, The Hermes of Egypt, A Study of Some Aspects of Theological Thought in Ancient Egypt (Oxford, 1922; Ares Publishers, Inc., Chicago, 1979).

WJL u ,bUFL UJL WUMF s dOJ b dB uK U bI V J u G w K " : W u I u K U e U u u I U b M ."WJL w t WJL :wK ULO WJL bb sJL .ozUu VJ kH -1 v uuK UNU WJL q WOUI WDA WUL -2 .UN jOL lLL s sbu cO iF WOM WuO Uu{u rOKF -3 .seOL sOb bbU )WbMN VDU( rKF d iF sOOMFL b -4 .bOL c w r U VFK rbI se p w WJL XU cJ ,UNOK U eK UL ,VJ kH vK uBI sJ "VdH" pKL uBM b s dF .YK UJ UNMJ UUJ s UuKFL iF ld )13 d_ s( qIU ,fOuuOK uU s d dFO "u" t WLbI Ud" : zU pKL dC w b c WJL db q s ."UA U ld WJL w pKL W U p WJL UNLC w UFL uKF w UuDL s bbFU de WdBL UJL XU ,jOM ,aU ,UO{Ud ,WbOB ,VD ,pKH uK U_ w bI .WdJF Vu ,rOd ,WUb qC_ ed dF dB )dOu dUA wLK b( ,fOU ,uu q( UuO ULK WH rKF bI .U_ UJL s dB s dO uLKF )u ,uUO fOuuOK XU ,WbMN pKH uUI w WLbI WdBL .sOU sOOLOKF sOOUI sed WUL nM VJ WOL v b l{u w dBL _ U bI d dF b UU " :tM uI rOJ cN ,UJL s sL t ,dG w uBI s XO s WLO pc uBM U ."bF w Uc VB dB .VJ w bu "fe" WN d v 220 s d UJL v U w ozUu b mK bI ,UuL ,luL ,UNOK Wb dHL XUM WIO WN XU .WJL dQ WOMFL UN WN ,sOKUF ."WJL bB w" UNQ nu WUJ WN "UA" UUJ c v d sO sO dOA uBM XU "su" n Ud b w ,bFL WJ w b b pK u w VJ w gO" :Wd VU uI ."VJ s sOL WKUIL WJL dbL `L U UNO sOKUFK UJLK dbI .Wb U U WJUL d_ pKL UMN ,kH rOd U w uU sOdBL _ v WU ub b pKL WJ " :uI h ."rOd

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- C. J. Bleeker, in: Hathor and Thoth, E. J. Brill (Leiden, 1973), 106-160.

rOKF WOd aU ,U sb UL b bL WON ,WOdF WJL ,wudH dBF ,_ e ,dB w .)1974( UJK WUF WdBL WLbI dB w wUF rOKF WKd ,V dOL dAMK wdF ,)uAM rbI aU w dOU WU( UO .)1990 ,dUI( lu
- Herbert Spie, Der Aufstieg eines Gottes, Untersuchungen zum Gott Thot bis zum Beginn des Neuen Reiches, Dissertation zur Erlangung der Wrde des Doktors der Philosophie der Universitt Hamburg, Gutachter: Prof. Dr. H. Altenmller & Prof. Dr. D. Kurth, Disputation: 24. April 1991, 9.30 Uhr (Hamburg, 1991).

bIFL w wu t ,dI uL eU W ,UOU :w ,WLbI dB w WuOb WOMb ,WbMJ WFU-uNM d WOK UbB WLJ WOLK .161-115 ,)2001( lU bF
- Jaylan Said Abd El-Hakeem, Thoth, The Master of ElAshmunein, A Comparative Study with the god Hermes, M.A. Thesis under supervision of Prof. Dr. Mohamed Abdelhalim Nureldin and Prof. Dr. Enayat Mohamed Ahmed, Guiding Department, Faculty of Tourism and Hotels, Alexandria University (Alexandria, 2004).

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