in the early Nineteenth Century in the UK, 3 Europe and America, 4 a contemporary press account gives a synopsis of the unwrapping: Fig 10 Watercolour by architect Alfred Waterhouse of the proposed museum building at Owens College, 1882. On Tuesday last, a most valuable addition was made to the Museum of the Natural History Society in this town, by a donation of R. and W. Garnett, Esqrs. Consisting of an Egyptian mummy
, in which he stated: ‘I give to the Public Museum at Montagu House my Egyptian Mummy, with everything thereunto appertaining, with the rest of my Egyptian antiquities.’ 3 The mummy was illustrated, first by George Vertue in 1724, and then in an engraving by the antiquarian Alexander Gordon in 1737. 4 Gordon wrote on the circumstances of the discovery of the mummy that
Egypt and one for Africa? Have you ever wondered why human remains from other countries are being removed from display while Egyptian mummies remain on public display? In this chapter, we are going to look at the return of the White mummy. We’ll see that Egyptian mummies are not neutral bodies in museums, and that their very presence in these institutions is a result of studies and attitudes that are
defiance, the work of the unnamed illustrator of the Vizetelly edition – likely its publisher Henry Vizetelly himself 8 – occupies an important place in the history of modern visual and literary depictions of Egyptian mummies and the sociopolitical discourses that they voiced. The Vizetelly illustration also embellishes Poe's vision, invoking contemporary racial theories about the ethnic identities of ancient Egyptians. An artist must necessarily reference the tone of a subject's skin, where a writer might leave such
Greek, Roman and Byzantine Costume and Decoration (London: Barnes and Noble). Martin, S. O. (2008), ‘Ancient Egyptian Mummy Wrappings from the Mummy 1770: A Technological and Social Study’ (PhD dissertation, University of Manchester). Reifstahl, E. (1970), ‘A note on ancient fashions: four early Egyptian dresses in the Museum of Fine Arts, Boston’, Bulletin of the Museum of Fine Arts Boston 68, 244–9. Strong, E. (1923), La scultura romana da Augusto a Constantino, II (Florence: Fratelli Alinari). Tapp, E. (1979), ‘The unwrapping of a mummy’, in A. R. David (ed.), The
‘“Think not of the wan, sunken face within,” the artist seems to say to us; “but remember your dear lost one as he lived.”’ Illustrated London News, 30 June 1888 1 Amongst the most striking images to have survived from the ancient world, the painted wooden panels found on Roman Period (First to Third Centuries CE) Egyptian mummies hold a significant place in the representation of the human image. Although they fulfilled the same essential purpose as a sculpted
Combining approaches to ancient Egyptian religious expression, medical practice and the modern scientific study of human and material remains from Egypt and Sudan, this volume celebrates the multidisciplinary career of Prof Rosalie David OBE. The UK’s first female Professor in Egyptology, Rosalie David’s pioneering work at the University of Manchester on Egyptian mummies, magic and medicine has attracted international attention.
This volume presents research by a number of leading experts in their fields: recent archaeological fieldwork, new research on Egyptian human remains and unpublished museum objects along with reassessments of ancient Egyptian texts concerned with healing and the study of technology through experimental archaeology. Papers try to answer some of Egyptology’s biggest questions - How did Tutankhamun die? How were the Pyramids built? How were mummies made? – along with less well-known puzzles.
Rather than address these areas separately, the volume adopts the so-called ‘Manchester method’ instigated by Rosalie David and attempts to integrate perspectives from both traditional Egyptology and scientific analytical techniques. Much of this research has never appeared in print before, particularly that resulting from the Manchester Egyptian Mummy Project, set up in the 1970s. The resulting overview illustrates how Egyptology has developed over the last 40 years, and how many of the same big questions still remain.
This book will be of use to researchers and students of archaeology or related disciplines with an interest in multidisciplinary approaches to understanding life and death in ancient Egypt and Sudan.
grand statement, there, on ‘common’ property or heritage that wants to be inclusive, and yet is immediately the property of a few – not unlike today’s discourses on ‘shared heritage’. In 1840, the Literary and Philosophical Society published a catalogue of one of its exhibitions that included a range of objects, from Indian dresses to fossils, birds and insects … and an Egyptian mummy. 8 While it
. It is late May, and the elite of the city are attending the Exposition Universelle de Paris. A peculiar event has been advertised as the central entertainment of the show: the unrolling of an Egyptian mummy. The mastermind of this event is French archaeologist Auguste Mariette, who has been charged with the creation of an Egyptian building for the Exposition. 1 Mariette is the most famous Egyptologist in
investigations of African women by thinkers who used the Black body as a frame to compare, construct and assert racial theories. Although Cuvier did not dissect full Egyptian mummies, he did study a large number of Egyptian mummy skulls. He had his own cabinet, which contained nearly fifty Egyptian human skulls, amongst 11,000 human and animal remains. 11 Cuvier’s investigations were commented upon in James Cowles