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Eldoumaty 76 and and May Trad, eds. Mahes , see also without 88, , Sakhmet in image. For the tombno. V, , of Meryre All I,Metropolitan see N. Museum Davies, and pt. The Rock objects Tombs of Pierpont 13 London, I, ; vol. V, 54; John A. Edouard de G. Pritchard, ed. Princeton, , For dimensions, see here notes 3 and London, , pl.

For the tomb of Tutu, see N. VI, Tombs of 40 and n. For , London, the tomb ; of seeParennefer, also, W. On the tambourine represented in the tomb of Mery a vertical band has been drawn that Amarna, pt. VI, pl. This band may have been visible through 6 See Traunecker, Claude and The lower portion is in the University of Furthermore, there are fragmentary remains of at least three round tambourines: Egyptian Museum, Cairo JE , Echnaton exh.

For reused talatat from Hermopolis, see Paris, , 83, fig. LXXX A and of a boat shrine. Inke W. Schumacher, Der Gott Sopdu: For this feature on related works, see here the discussion of figures 6 and 8 below. New York, , pls. Catalogue des instruments, 77, no. The shrine is placed behind two standards.

The gods hold was-scepters and the goddess a wadj-scepter; all three carry ankh- second through Twenty-sixth Dynasties, the timespan during which the Cemetery of Cats was in use. The goddess shown here does not have the broad collar mounted on the raised prow fig.

Shu are also worn by Sopdu,23 with whom he is closely associated. The middle figure is not wearing a Inside the shrine is a statue of a seated, lion-headed goddess. Uprights near the front of the baldachin foreign kilt, as Sopdu often does, but his physiognomy suggests Asiatic origins. The three deities might recall a similar feature noted on the Metropolitan Museum model.

In front of a sphinx standard, completes it in the appointed hour in his name Mahes; he provides it with his limbs in his name. Outside the boat, facing the bow, a woman wearing a long surface of the Museum August Kestner stela also appears to have been substantially reworked. The woman shown on the Metropolitan Museum faience stela was first intended for another purpose, if not actually reused. The latter is of The stela in the Museum August Kestner has three registers fig.

It is not clear if the lion-headed deity is an appears to be the same object that is carried by his counterpart on the Pushkin Museum tambourine model, at least according to a drawing by Arthur Wiegall; the drawing is reproduced in Alan H. The implement does not resemble a scepter or other is invariably shown raised on a sledge with distinctive supports; see The Epigraphic Survey, Festival Scenes of Ramses royal insignia.

Berlin for providing images and measurements. Hofmann and Alexandra Sturm, eds. Norderstadt, , 57, passim. Caire 74, Nr. The isheru-lake at Bubastis, described by Herodotus, was still discernable in the late , see p.

An early example is played during Amenhotep temple reliefs and wall paintings. Rectangular tambourines are found the recipients of the tambourine music are female deities: Mut and Hathor on opposite sides of a New primarily in Theban and Amarna tombs. Measuring approximately 74 x 40 cm, it is dissimilar in its proportions to the faience tambourine models and substantially larger.

Bands drawn around the edges on most of the rectangular tambourines depicted in Berlin, , 57, fig. Male musicians play both types of tambourines during a foundation ceremony depicted on a papyrus fragment possibly dating to the Museum and Pushkin Museum faience tambourine models. Cooney, Amarna Reliefs from Hermopolis in American Collections New York, with animal-gut thread laced through holes on the outside edges of the other three wood members.

Calverley, Myrtle F. Broome, and Alan H. Tomb of Exhibition of the M. Eldoumaty and May Trad, eds. Cairo, , , esp. For the tomb of Meryre I, see N. Davies, pt. The Rock Tombs of El Amarna, pt. For the tomb of Caire, Nos. Panehesy, see N. This band may have been visible through Echnaton exh. See above note 27 for a papyrus and below note 41 for a significance of the rosette, a common Egyptian motif associated at least initially with foreign influence, and generally wood panel, both in the Louvre.

In terms of a fragmentary faience model tambourine in the Egyptian Museum, Cairo, with a representation of sheer number, shawabtis, as well as beads, amulets, scarabs, inlays, and other small items constitute Nekhbet on one face and an inscription for Wadjet on the other, may relate to voyages on the lakes sacred the majority of surviving faience objects; larger, three-dimensional works include vessels, statuary, and to these goddesses fig.

Whereas round tambourines continued to be played and depicted much later, Department of Objects Conservation, The Metropolitan Museum of Art representations of rectangular ones are limited almost exclusively to Eighteenth Dynasty contexts.

El-Sawi dated the relief from the Cat Cemetery at Tell Basta between the Twenty-second and in Tell el-Yahudiyeh and on that basis it has been described as a tile and dated to the Twentieth Dynasty.

Twenty-sixth Dynasties based on its find spot. The distinctive bell-shaped hemline of the dress worn A modest corpus of related monuments that provide representational parallels and textual evidence, by the tambourine player on the Antikenmuseum stela is found on monuments from the Twentieth to however, strongly supports the identification of the work as a model tambourine, and suggest a Third Twenty-fifth Dynasties.

Intermediate Period date and Tell Basta as its source. Faience, a non-clay, glazed ceramic first produced in the Predynastic Period, is among the earliest of the sophisticated vitreous materials manufactured by craftsmen of the ancient world. The body, a 47 For faience sistra and menats found in Hathor shrines, see Geraldine Pinch, Votive Offerings to Hathor Oxford, , versatile material containing ground silica with small amounts of lime and an alkali fluxing agent such , sistra , menats.

Whereas faience tambourines are unequivocally non-functional, faience sistra and menats might have served as rattles, though less effectively than their metal counterparts.

A wood relief panel fragment that depicts a female harpist in a boat accompanied by Bes, who plays a rectangular tambourine with rosette borders on its upper and lower edges, may prove relevant; see Louvre, Paris E ; H. This fragment is the only tambourine model with a feature that may relate to mounting, namely rectangular recesses on the top and a surviving side vertical edge.

Furthermore, the Egyptian Museum, Cairo tambourine was made from a faience body and glaze distinctly different from the bodies and glazes used for the other two models and the tambourine amulet. London, , , where he suggests the late Twentieth through Twenty-fifth Dynasties. XXIII, , pls. Pierpont Morgan Paris, , pls. Several criteria suggest a preliminary date in the Old Kingdom. I had started research on this lion in preparation for an article in the Bulletin of the Egyptian Museum and for a more thorough study on the iconography of lions and sphinxes.

The lower part of the face is broken from the nose down to the neck, and the eyes and the ears are destroyed. Two deliberate chisel blows broke the body into two parts. The back part of the base is likewise broken. Photo by Andreas P. It is circular around the face, with a part under the chin. The main mass of the mane is divided in two sections by an incision on the top of the head.

At the back, the mane is divided in two lunate-shaped swags that drape over the shoulders and dip slightly before descending along the chest, whichFig. There are no indications of individual Fig. Model tambourine tufts or strands fragment of hair. TheMoscow A very shallow depression along August Kestner the inner side of each forepaw joins the beginning of the innermost toe, which is subtly modelled at the base, smaller and set back from the adjacent toe. The hind paws are shorter and flatter.

Each has four toes of equal size that also end with oval claws and incised cuticles. On the external profile of the forepaws the elbows are angular and join the body with a concave fold. A longitudinal projection representing stylized extensor muscles is rendered between two parallel depressions that end at the outermost toe, which seems to grip a semi-circular element. The upper depression extends over the flank and surmounts and follows the concave fold of the elbow. The musculature of the hind paws is similarly rendered, but ends with a much steeper angle of the ankle and a smaller semicircular element under the toes.

Another depression on the back legs follows the curve of the knees and continues on the thighs. A crescent-shaped muscle is smoothly rendered on each shoulder. The tail, which is curved around the right back knee, ends with a bulbous tuft on the haunch; it lacks any indication of individual strands of hair. The lion is mentioned in G. Cairo, , , no. Before a common publication, we agreed to bring out in turn a short notice about the Cairo lion, in order to make the pair of lions known to Egyptology.

Stela fragment from the Cemetery of the Cats, Tell Basta. Musicians at a funeral banquet. Museum Art in Theas extraordinary part of a large invention of the collection of Abb. Rectangular tambourine in situ in the entryway of the tomb of Hatnofer Fig. Barbara inv. Worp, "Index Locorum zu S.

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