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Golden Mummies of Egypt presents new insights and a rich perspective on beliefs about the afterlife during an era when Egypt was part of the Greek and Roman worlds (c. 300 BCE–200 CE). This beautifully illustrated book, featuring photography by Julia Thorne, accompanies Manchester Museum’s first-ever international touring exhibition. Golden Mummies of Egypt is a visually spectacular exhibition that offers visitors unparalleled access to the museum’s outstanding collection of Egyptian and Sudanese objects – one of the largest in the UK.
the south of the site adjacent to the village had also gone (Foucart 1898: 168–9, fig. 19), creating the ‘Great Pit’ and liberating statuary, bronzes and other treasures for museum and private collections. However, few objects that could be associated with the Royal Tombs have been recognised, suggesting that they have been destroyed and lost. Barbotin (2000) published part of what could be a royal sarcophagus in the Musée du Louvre, Paris (E32580), and in many ways the Louvre granite fragment represents the sad history of the Sais tombs. The block came from a
bricks and led to what Amélineau described as five underground chambers. These were rock-cut and undecorated and had not been completely cleared, with fragments of statuettes and large vases being found. In the great the monuments of unnefer 63 chamber was the lid of a granite sarcophagus. Among the debris of the tomb was found the upper part of a stela of Minmose, with fifty-three fragments of limestone relief decoration recovered from the brick chapel above ground. No human or coffin remains were found underground, and there was evidence of material having been
account of the antiquities of the town, which led to her glory, as he told the consuls in his dedication. He ended on a less optimistic note, 45 Sarcophagus in the Rhône, 1639, however: he observed that Vienne illustrated in papers belonging to had lost surprisingly little at the hands Nicolas Claude Fabri de Peiresc. Paris, of the Goths or Vandals, but ‘Nostre r BnF, ms Lat. 8957, fol. 209 indifference ou nostre mespris nous 31/07/2018 14:34 Reusing antiquities in early modern France 46 Sarcophagus today, after being removed from the Rhône in 1858. Musée
Gebhard, from their previous location at the tomb, and with the remains set in the sarcophagus, they processed around the perimeter of the monastery. They afterwards placed them in the new tomb with great honor. T.5 [5.5]. ON THE DEDICATION OF THE ALTAR OF THE HOLY CROSS. On this same day, that is 27 August, which was his birthday, in the twelfth indiction, the altar over his tomb was dedicated in honor of our Lord Jesus Christ, the most Holy Cross, Mary the Mother of God, St. Gebhard, St. Benedict, and the other saints whose relics were kept there: relics of the
face, a slant to the eyes and a curved smile, the so-called ‘Saite smile’.33 A number of shabti figures,34 mostly fragmentary, are attributed to Nekau II, although it is possible they could relate to Nekau I. The wife of Nekau is generally considered to have been Khedebneithirbinet I, on the basis of circumstantial evidence: the form of her sarcophagus is appropriate for this period, the titles inscribed on her sarcophagus are those that would be expected of the wife of a monarch, and also no wife of Nekau is otherwise attested35 (Figure 5.2). Nekau fathered a son
This book examines the impact that nostalgia has had on the Labour Party’s political development since 1951. In contrast to existing studies that have emphasised the role played by modernity, it argues that nostalgia has defined Labour’s identity and determined the party’s trajectory over time. It outlines how Labour, at both an elite and a grassroots level, has been and remains heavily influenced by a nostalgic commitment to an era of heroic male industrial working-class struggle. This commitment has hindered policy discussion, determined the form that the modernisation process has taken and shaped internal conflict and cohesion. More broadly, Labour’s emotional attachment to the past has made it difficult for the party to adjust to the socioeconomic changes that have taken place in Britain. In short, nostalgia has frequently left the party out of touch with the modern world. In this way, this book offers an assessment of Labour’s failures to adapt to the changing nature and demands of post-war Britain.
What do we really know of the origins and first spread of major monotheistic religions, once we strip away the myths and later traditions that developed? Creating God uses modern critical historical scholarship alongside archaeology to describe the times and places which saw the emergence of Mormonism, Islam, Christianity, Judaism and Zoroastrianism. What was the social, economic and political world in which they began, and the framework of other contemporary religious movements in which they could flourish? What was their historical background and what was their geographical setting? Written from a secular viewpoint, the author reveals where a scholarly approach to the history of religions may diverge from the assumptions of faith, and shows the value of comparing different movements and different histories in one account. Throughout history, many individuals have believed that they were in direct contact with a divine source, receiving direction to spread a religious message. A few persuaded others and developed a following, and a small minority of such movements grew into full religions. In time, these movements developed, augmented, selected and invented their own narratives of foundation: stories about the founders’ lives and the early stages in which their religious group emerged. Modern critical scholarship helps us understand something of how a successful religion could emerge, thrive and begin the journey to become a world faith. This book presents a narrative to interest, challenge and intrigue readers interested in the beginnings of some of the most powerful ideas that have influenced human history.
it’s not enough, as a visitor, to know of this history, to accumulate these factoids as evidence of wrongdoing. Maybe action should follow. But I’m not there yet. I still own that sarcophagus pencil case, even though my days as a budding Egyptologist are long gone. And I still value this relationship, fragile as it may be – this opportunity to connect
downstairs to the crypt. As you step outside the mastaba, just before you enter the crypt, make sure to look up at the back of the room. Symbols of French power everywhere. Large stone steps take you down to the crypt, where a large sarcophagus sits in the middle of the room. On either side are beautifully crafted objects. Osiris, Isis and Nephthys are watching over the space. As you take the steps back up