35
BULLETIN
DU MUSEE HONGROIS DES BEAUX-ARTS
2014/119
BUDAPEST
SPONS OR
n<a
EDITORIAL BOARD
JUDIT BORUS · MARIANNA DAG!· ZSUZSANNA DOBOS
ZSUZSANNA GILA- EVA LIPTAY- ORSOLYA RADVANY!
EDITORIAL SECRETARY
ZSUZSANNA GILA
H-1146 BUDAPEST. DOZSA GYORGY UT 41. TEL., +36-1-469-7100 FAX,+ 36-1-469-7111 BULLETIN@SZEPMUVESZETI HU
TRANSLATION
ADRIAN HART (7-12. 101-116. 127-166. 187-195)
NIKOLET TA KORUHELY (101-116)
LANGUAGE CORRECTION
ADRIAN HART· ESZTER KARDOS· ANNA KOVES· DORA SALLAY
ON THE COVER, THE BUDAPEST NIOBID. MUSEUM OF FINE ARTS, BUDAPEST
RESPONSIBLE PUBLISHER
LASZLO BAAN GENERAL DIRECTOR
MUSEUM OF FINE ARTS. BUDAPEST· 2014
ISSN 0133-5545
CONTENTS
V I L MO S TAT RA I
IN MEMORIAM MIKLOS MOJZER
CARLO RINDI NUZZOLO
13 TWO PTAH-SOKAR-OSIRIS FIGURES FROM AKHMIM IN THE EGYPTIAN
COLLECTION OF THE MUSEUM OF FINE ARTS, BUDAPEST
KATA ENDREFFY
4 3 G O D S ON TH E LOT U S FLOW E R: TWO ST ON E D I S H E S W I TH REL I EF D ECO RAT I O N
FROM G RAE CO -ROM AN E G YT
AGNES BENCZE
65 IL BUSTO DI "NIOBIDE" DELLA COLLEZIONE DI ANTICHITA CLASSICHE:
UN TENTATIVO DI ATTRIBUZIONE
ERZSEBET MOZER
101 BOLOGNESE ARTIST: SCENE FROM A TALE OF CHIVARLY.
THE CONSERVATION OF A DRAWING
SERGIO ALCAMO
117 SU UN DIPINTO CON UNA SIBILLA ATTRIBUITA A GIORGIONE IN CA' SANUDO
BERNADETT TOTH
127 AN E ARLY REPRESENTATION OF DON QUIXOT E
FROM THE CIRCLE OF JAN BRUEGHEL THE ELDER
ANDREA CZERE
139 "DIPINTO DAL VERO"
NEAPOLITAIN TOWN SCAPES BY ALESSANDRO D'ANNA IN THE BUDAPEST COLLECTION
ANNE-SOPHIE KOVACS
167 AUTOUR D'UN PETIT BRONZE CONSERVE AU MUS EE DES BEAUX-ARTS DE BUDAPEST:
LE MONUMENT A MAUPASSANT DE RAOUL VERLET
181 SHORT NOTICES
EVA LIPTAY
181 EXAMPLES OF A COFFIN TYPE FROM AKHMIM IN THE EGYPTIAN
COLLECTION OF THE MUSEUM OF FINE ARTS. BUDAPEST
MANGA PATTANTYUS
187 FEW REMARKS ON A RENAISSANCE SCULPTURAL MODEL
JACOPO SANSOVINO: MADONNA AND CHILD
ZOLTAN KARPATI
197 A NEWLY IDENTIFIED LANDSCAPE ETCHING BY BATTISTA DEL MORO
ANDREA ROZSAVOLGYI
203 NEPTUNUS RIDING ON A DOLPHIN
CIRCUMTANCES OF A ACQUSITION
ANDREA CZERE
2 O 9 A N E W LY I DENT I FIE D ST AGE DES I G N BY FI LI PP O JU VAR RA
213 EXHIBITIONS
214 HIGHLIGHTED WORKS OF ART
215 NEW PUBLICATIONS
217 NEW ACQ1JSITIONS
two ptah- sokar -os i r i s f igure sfroM akhMiM in the egyptian collectionof the Mus euM of f ine arts , BuDape st
c a r l o r i n D i n u z z o l o
The Egyptian collection of the Museum of Fine Arts, Budapest preserves several wooden funerary figures known as Ptah-Sokar-Osiris. Among these, two objects in particular stand out due to their characteristics which are worth of further examination. The visit carried out in the Museum allowed me to conduct an in-depth analysis of these figures in the context of the survey of the CALiPSO Project.1 The latter, researching wooden Osiris and Ptah-Sokar-Osiris figures, aims to form an extensive database through a progressive international survey in museums and private collections and has so far traced and studied more than one thousand of such figures. Within this large amount of information, a particular corpus of data allowed to identify Ptah-Sokar-Osiris figures originating from Akhmim—the majority of which was previously considered as unprovenanced—and to define their typological and palaeographical characteristics.2
The present article intends to extend this particular corpus of data as well as to continue the previous investigation on this specific type of Ptah-Sokar-Osiris figures. Its first aim is to provide a detailed analysis of the two above-mentioned artefacts (inv. nos. 51.2098 and 51.244) focusing on their decorative features, inscriptions and typological characteristics. The second aim is to demonstrate that these two objects pertain to a very specific typology of Ptah-Sokar-Osiris figures, provided with particular and interesting features only present on examples manufactured in Akhmim.
The figures were included in two excellent studies by Edith Varga,3 one of the few scholars to produce articles fully dedicated to Osiris and Ptah-Sokar-Osiris figures;4 however—given the recent survey carried out by the CALiPSO Project—a new, updated analysis will be most beneficial to draw attention to particular pieces of data which have been only recently discovered.
The present study is structured in three main parts. The first deals with the decorative features of the figures and includes the analysis of the texts; the second section discusses their typological characteristics, also taking into account decoration patterns present on other artefacts. The discussion concludes with a third section which focuses on the provenance of the objects.
13
1 p t a h - s o k a r - o s i r i s f i g u r e ( i n v. n o . 5 1 . 2 4 4 )
The first document is a Ptah-Sokar-Osiris figure5 that, though being fragmentary6—the front side of the object is in fact missing
—presents very interesting characteristics. The back side is plastered and painted with a polychrome decoration with black used as the main colour for the background (fig. 2). The wig is painted in blue with a thick yellow border on each side which separates it from the shoulder area. The latter is characterised by a general red background on which two falcon terminals are standing, facing the rear of the figure (fig. 3). The terminals are realised with numerous fine details, with well-defined beak and eyes; they appear rather hypertrophic, decorated in yellow and blue and bear a sun-disc over the head.
Below the falcon-terminals stands a very broad wsx-collar that reaches the back side of the figure; only the last four rows are visible7 on the back side and they are decorated with floral motifs: yellow leaves over a red and blue background; bell flowers (campanulae), rendered in white over a uniform red ground; and chrysanthemums, whose petals—bordered with thin black lines—
are painted white around a red centre, all over a blue background; the last row of the collar is adorned by drop-shaped elements painted (in groups of three or four) in blue, red and green over a yellow background.8 The collar is surmounted by a horizontal frieze positioned just below the two falcon heads and decorated with a chequered motif painted in alter-nating blue and red. Below the wig, two columns of text—painted black on a yellow ground—run towards the feet, reaching the plinth The latter is decorated with a motif consisting of two concentric geometrical elements standing on a yellow ground.
The artefact was originally manufactured in two halves (fig. 1),9 and the internal side has been hollowed out such as to obtain a cavity in the trunk. This follows the contour of the figure, thus resulting mummiform-shaped; eight mortises have been manufactured along the border of the cavity—between the latter and the contour of the14
1 . t h e s t r u c t u r e o f t h e
MuMMiforM cavity as it
shoulD have appeareD on
the figure (inv. no. 51.244),
s h o w i n g t h e o r i g i n a l
positioning of the front
siDe, now Missing. Draw-
ing By the author BaseD
upon a speciMen of the
sa Me t ypology
2 . the Back siDe of the figure , showing the Decoration anD the
MuMMiforM cavity. BuDapest, MuseuM of fine arts (inv. no. 51 .244)
3 . the Decoration of the collar on the right
anD left siDe , Detail
figure—to be joined with the relative tenons on the missing front side. The figure
measures 61.2 cm in height, 13.2 cm in width at the shoulders, 6.4 cm in width at
the ankles, while its thickness is 1.8 cm. The internal cavity is 53.2 cm high, 9.7 cm
wide and 0.6 cm in depth.
1 . 1 a n a l y s i s o f t h e i n s c r i p t i o n s ( i n v. n o . 5 1 . 2 4 4 ) i0
The figure is inscribed in two columns running along the back side (fig. 4):
+dmdw inWsir xnty-imntt nTr aA nb AbDw Ast wrt mwt nTr Hry-ib Ipw ¤kr-Wsir Hry-ib
qrst Inpw nb tA Dsr Inpw Imiwt Imsty @py _wA-mwtf QbH-snwf di.sn prt-xrw tA.w HnqtkA.w Apd.w sn-nTr mnxt xt nbt nfrt wabt ir sA n Wsir +Hwty-ms sA ¡r-nxt mAa-xrw Dt.
Words to be spoken by Osiris, foremost of the westerners, great god, Lord of Abydos, Isis the great, mother of the god, who resides in Akhmim, Sokar-Osiris who resides in the burial, Anubis Lord of the Necropolis, Anubis Imiwt, Amset, Hapi, Duamutef, Qebesenuf, may they give invocation offerings of bread, beer, oxen, birds, incense, linen, and every pure and good thing. May protection be granted to the Osiris Djehutymes,11
son of Hornakht,12 justified, forever.
The object is provided with a particular type of inscription very common on Ptah-Sokar-Osiris figures manufactured in Akhmim.13 The text is charac-terised by a structure which is recurring on many examples and names a large cluster of gods which are usually listed in a particular order. Not every Ptah-Sokar-Osiris figure is provided with the full version of the text but, thanks to the comparison with several other instances gathered by the CALiPSO Project,14 it is now possible to reconstruct its general structure; for the sake of analysis the text has been subdivided into ten sections. The following table illustrates the entire structure of the text as well as the possible variants occurring in each section. As the table demonstrates, the complete text can be subdivided in a total of ten sections, some of which appear more frequently than the others. The first one may be represented by Dd mdw or Htp di nsw, depending on the case. The second section is always present and the same in all the figures examined so far15 and it names Osiris as great god and Lord of Abydos. On the other hand, the third
17
4 . the te xt
section may name Ptah-Sokar-Osiris16 or Sokar-Osiris followed by the words Hry-ib associatedwith the place of dwelling of the god.17 The fourth and fifth sections are dedicated to Isis andNephtys, while the sixth and seventh parts address Anubis with the titles nb tA Dsr, sH-nTr and Imiw.t.The eighth section lists the four sons of Horus.18 The formula may include two final sections—ninth and tenth—which present a list of offerings for the ka of the deceased or with the grantof eternal protection. The translation of the complete text is given below.
1| Words to be spoken by (variant: An offering which the king gives to) 2| Osiris, foremost of the
westerners, great god, Lord of Abydos, 3| Ptah-Sokar-Osiris (variant: Sokar-Osiris), great god, who
resides in the burial (variant: Sokar-Osiris, who resides in Akhmim), 4| Isis the great, mother of the god,
who resides in Akhmim, 5| Nephtys, sister of the god, 6| Anubis Lord of the Necropolis, 7| Anubis of
the Divine Pavillion (variant: Anubis Imiwt), 8| Amset, Hapi, Duamutef, Qebesenuf, 9| may they give
(list of offerings) for the Ka of the Osiris N (variant: protect this noble Osiris N justified ) 10| forever.
2 ptah-sokar-osiris f igure ( inv. no . 51 . 2 098 ) ( f ig . 5 )
The second object is a Ptah-Sokar-Osiris figure19 presenting a polychrome decoration on a general
red background. The face—which is not provided with an Osirid beard —20 is painted in yellow, now
slightly darkened, and is finely modeled. The eyes are large, and the black iris elegantly contrasts with
18
5 . fr ont anD Back siDe of the ptah-sokar-osiris figure
BuDapest, MuseuM of fine arts ( inv. no. 51 . 2098 )
6–7 . front anD Back siDe of the figure with the reMoveD liD, showing
the inner cavit y M anufactureD insiDe the heaD. Below, Detail of
the Decoration on the siDes of the Base , Detail
the white, surrounding cornea; eyebrows, nose and
mouth are well defined as well. The face is framed
by a blue tripartite wig which leaves the ears visible;
this is decorated with a white band on the forehead
tied at the back of the neck in a long, descending bow.
The two wig terminals in the front are decorated with
a white section having a red horizontal stripe in the
middle; over the wig stands a striped Swty-crown
painted in red, green and blue and provided with
ram’s horns and a sun-disc covered in gold foil.
Between the two wig terminals a small striped
collar is visible, painted in dark blue on white ground
and consisting of ten rows; two falcon heads rendered
in black lining over white ground and bearing a sun-
disc fasten the wsx-collar at shoulder level. The latter,
preceded by a horizontal chequered frieze, is consti-
tuted by six rows decorated with geometric and floral motifs: bell flowers (campanulae), leaves, and drop-shaped elements—painted red, green and blue—in the last row. The first row of the collar is occupied by a blue lotus flower standing on a red ground.
Under the collar, a stylized, square shrine21 encloses a seated god holding a flail and bearing the sign on the head (fig. 8); the god is painted in red and entirely bordered in the same green tonality as the
surrounding shrine. Under the latter, a single column of black text on white ground runs towards the feet. The back side of the figure is almost entirely occupied by a second column of inscription which is partly damaged. On the back of the neck a vertical lid—which continues the decoration present on the back side—gives access to a narrow cavity obtained inside the head—a specific characteristic of Akhmimic Ptah-Sokar-Osiris figures—which has been found empty (fig. 6).22 Under the feet a square plinth is decorated with a blue rectangular element on each of the four sides.
The figure stands on a base presenting decorative patterns on the top as well as on the sides; the latter are decorated with a chequered frieze in blue and red running along the upper area of the four sides. Under this stands a motif constituted by the repetition of the group , formed by two red was-
sceptres flanking a blue ankh, all standing on a nb-sign painted with a chequered pattern in blue and red (fig. 7). The upper face of the base, though blackened, bears a very interesting decoration which
21
8 . the seateD goD encloseD in a shrine
anD holDing a flail unDer the collar
of the figure, Detail
9 . siDe views of the ptah-sokar-osiris figure. BuDapest, MuseuM of fine arts (inv. no. 51 .2098)
features a rectangular area with a chequered motif,23 this was originally
surrounded by an inscription of which now only few remnants are vis-
ible. The provenance of the figure is uncertain but, as it will be analysed
later, particular typological and palaeographical features allow to identify
the place of origin in Akhmim (fig. 9).
The body of the figure measures 50.7 cm in height, 12.4 cm in width
at the shoulders, 7.4 cm in width at the ankles, and 7.8 cm in depth.
The crown is 18.7 cm high, 13.9 cm wide and 1.0 cm thick. The base is
7.7 cm in height, 12.9 cm wide and 44.9 cm long. The total height of the
figure with base is 79.2 cm. The cavity is 8.3 (h)×2.2 (w)×3.3 cm (d).
2.1 analysis of the inscriptions (inv. no. 51.2098)
The figure is inscribed in one column running along both sides. The
inscriptions are not entirely preserved and certain areas of the text
are very fragmentary (fig. 1024).
(front side) [+d mdw ?]A inWsir xnty-imnttB [nTr aA] [nb r-sTAw] ir
sA n Wsir ¡r-[...]C mAa-xrw sA PA-Hsy mAa[-xrw]
(back side) [...]D Wsir [xnty-imntt ?]E [... nb AbDw]F ¤kr-Wsir Hry-ib
qrs.t Ast wrt mwt nTr Nb.t-Hw.t sn.t nTr [...]G Dt.
(front side)[Words to be spoken] by Osiris, foremost of the west-
erners, [great god], [Lord of Ra Setau], protection may be granted to
the Osiris Hor[? ...], true of voice, son of Pahesi, true of voice.
(back side) ... Osiris, [foremost of the westerners] ... [Lord of Abydos],
Sokar-Osiris who resides in the burial, Isis the great, mother of the god,
Nephtys, sister of the god ... forever.
A. the signs at the beginning of the inscription are almost com-
pletely effaced. However, the traces on the upper left area seem to hint
to the remnants of the sign and, subsequently, to the presence of
a Dd mdw formula. B. the group is, again, partially effaced and difficult
23
10 . the inscriptions on the
front (left) anD Back siDe
(right) of the figure
to read but the traces of the signs on the top and on the right seem to confirm the reading xnty-imntt. C. the last part of the name of the owner is effaced. D. the first section of the inscription is lost. E. only traces of the geographical determinant are extant. F. again, the remnants of the signs at the end of the group seem topoint to this reading. G. the area is badly damaged.
The inscription on the front side bears the name of the owner, but this is now preserved only in part and appears to begin with the sign ¡r; the name of his father is also present, a certain Pahesi. The back side is inscribed with the same type of text present on the figure of inv. no. 51.244 but, in this case, only certain sections of the whole formula have been used: Sokar-
Osiris, Isis and Nephtys are in fact mentioned, while the sections including Anubis (nn. 6, 7) and the four sons of Horus (n. 8) have been omitted. The figure was originally provided with another inscription, located on the upper face of the base and running around the central decoration. This is now almost completely effaced and only a few traces in a very small area remained; nevertheless, this inscription is very important for the study of this statuette. In fact, the few signs on the base (aq n pr bA.k) are the scarce remnants of a very specific formula, characteristic of Ptah-Sokar-Osiris figures manufactured in Akhmim.25 This hymn results particularly connected to the function and decoration of the figure, therefore it will be examined in detail.
2 . 1 . 1 a wat e r - r e l at e D h y M n
During the International survey carried out by the CALiPSO Project several figures were found to bear a copy of this particular formula26 which, until now, had not been recognised as a specific type of hymn inscribed on Ptah-Sokar-Osiris figures.27 The identification of the above mentioned objects and the study of several copies of the text allowed to establish a recurring standardised pattern present24
11 . the Decoration showing
a lake Motif with lotus
flowers anD BuDs on the Base
(lonDon, British MuseuM,
inv. no. ea 36424)
on all the figures. The most complete copy which has been found so far is on the base (London, inv. no. BM EA 36424),28 while other artefacts bear fragmentary versions of the text. For ease of analysis, the complete text of the hymn is repeated here:
Htp di nsw wab.k Wsir qbHw n.k mw m pr n Abwirtt m iAdt inw n.k m sbx mH m wDH qbH m pr RaSsp.k Htpw tA xnpw aq n pr bA.k rsy nn Snat.tw.k ntpt tA anx.(w) bA.k rwD prt.k rnpy.k m HqA anxw.
An offering which the king gives, you are pure Osiris, the waters that come from Elephantine are fresh for you. Milk from the (heavenly) cow is brought to you in a jar which fills by pouring out cool water in the House of Ra. You receive offerings
25
12 . the coMplex scene representeD
(upon) earth, cake is presented, and your soul goes on the Base (top siDe) (cairo,
egyptian MuseuM, inv. no. tr 28+3+25+7)
forth vigilant; you shall not be repulsed (from) heavenand earth. Your soul will live, your seed will germinate, you will rejuvenate as the ruler of the Living Ones.
This hymn has three particular characteristics: first, it is found inscribed only on the base of the figures in almost all cases.29 The second is that this text usually runs around a central decoration, a water-related motif representing a pool of water—or a lake—which can be depicted in a truthful fashion30 (fig. 11) or may be stylised, representing the pool and the waves in the water just by a zig-zag chequered pattern (fig. 13).31 The third characteristic, as already mentioned, is that such a hymn presenting certain specific characteristics was not known to be commonly found on Ptah-Sokar-
Osiris figures from Akhmim presenting certain specific characteristics.
The water-related themes, a clear connection to this hymn, are in fact very common on objects originating from Akhmim and represent one of their most specific characteristics.32 Among these, the base of the figure Cairo, Egyptian Museum, inv. no. TR 28+3+25+7 (fig. 12)33 undoubtedly stands out for the presence of one of these water-related representations: a complex scene involving four ba-birds—two with human heads, the others with a snake and falcon head respectively—
holding a flail in adoration at each corner of a central square pool of water; the latter is surrounded by a heset-vase on each side with water flowing out from both sides of the vases onto the ground.
2 . 2 the s yMBol i sM of wat e r i n akh MiMi c p tah - sokar - os i r i s f igur e s :
a n e l e M e n t f o r e t e r n a l r e B i r t h
The text of this particular hymn offers a significant opportunity to examine the deep connection between the concept of water and the very function and symbolism of Ptah-Sokar-Osiris figures. The hymn appears to be a variant of the ninth formula present in the funerary papyrus of Nesmin/Sminis (inv. no. BM EA 10209)34 and its beginning is also found on papyri and funerary objects dating to the Graeco-Roman period.35 The inscription addresses Osiris, who is purified by the fresh waters coming from Elephantine.36 It is the presence of this primary acting force that, together with the milk of the heavenly cow and other offerings, will ensure the eternal rejuvenation of the Osirian:
We are ... dealing with a hymn which is specifically inscribed on these examples of Ptah-Sokar-
Osiris to put into action the process of rejuvenation for the deceased-Osirian whom, sharing the fate of the foremost of the Westerners, will live forever through the libations; he will not age, nor be kept out from heaven and earth. This process is as everlasting as the continuous and uninterrupted filling of the jar which fills by pouring out cool water. The latter, as “repeater of life”, is undoubtedly the primary force acting in this text which, functioning as a spell, had the purpose of activating this powerful and primaeval element to allow the rejuvenation of the Osirian.37
A brief reference to the important role of water is also present in another hymn38 often found on Ptah-Sokar-Osiris figures having different origins (e.g. Theban),39 where it is stated “... the great god has returned coming forth from the primaeval water”.40 However, it is only contained in the hymn found on objects produced following the Akhmimic tradition that text and water-related scenes appear deeply connected,41 thus empowering the very function of the Ptah-Sokar-Osiris figure itself and allowing the continuous rejuvenation of the ba of the deceased (your soul will live), who is identified with the god and partakes of his resurrection and eternal life (you will rejuvenate as the ruler of the Living Ones). The repeated interconnectedness of this specific type of hymn42 and the water-related motifs (fig. 13) is a clear demonstration of how the strong influence of the local traditions and religious beliefs at Akhmim affected the funerary production of the
area.
26
2 . 3 g e n e a l o g i c a l i n f o r M at i o n ( i n v. n o . 5 1 . 2 0 9 8 )
As already mentioned, the second part of the name of the owner of the figure (which appears to begin with the sign ¡r) is unfortunately illegible; the name of his father is also mentioned, a certain Pahesi. It is necessary to mention that Edith Varga has already conducted the first part of an important genealogical research on this artefact and the family to which it may belong,43 identifying two other objects that
27
13 . coMparative vie w: the reMnants of the water-relateD Decoration on the top siDe of
the Base of the figure (BuDapest, MuseuM of fine arts, inv. no. 51.2098) (left) anD the saMe
Decoration on the Barcelona figure (inv. no. e.206) (right). on the latter, a Quite large
section of the hyMn running arounD the central Decoration is also visiBle
carry the name of Pahesi: a Ptah-Sokar-Osiris figure, now kept in Cairo,44 and a hypocephalus.45
The former, presenting a very similar style to the figure in Budapest (inv. no. 51.2098),46
mentions twice Pahesi as son of Sha-nefer and Hortesnakht,47 while the hypocephalus names Pahesi thrice, Sha-nefer twice and Hortesnakht once.
In 2012, Elfriede Haslauer has also added very important information to the dossier of this Akhmimic family by publishing the coffin and mummy of Pahesi, which are now preserved in Graz,48 in an excellent study.49
3 . D i s c u s s i o n : t y p o l o g y , p r o v e n a n c e a n D f i n a l c o n c l u s i o n s
The provenance of these two figures is uncertain,50 as they entered the collection of the Museum of Fine Arts through purchase or donations.51 Nevertheless, it is possible to hypothesise that they were produced in Akhmim thanks to the presence of particular characteristics which will be discussed in detail.
3 . 1 t y p o l o g i c a l a n a l y s i s
The two figures can be ascribed respectively
to the more general typological groups IVF
(inv. no. 51.244) and IVC (inv. no. 51.2098)
defined by Raven.52 Nevertheless, these two
groups are quite heterogeneous and include
a high number of figures with very different
characteristics.53 For this specific reason, a fur-
ther typological discussion is necessary as these
two objects show particular features which
make them to stand out from other figures per-
taining to the same general typology (IVC–IVF)
but coming from different geographical areas.54
14 . the Decoration of the collar
of the figure (inv. no. 51.2098), showing
the DaMageD areas anD the lotus flower
in the first row
28
In the context of the survey carried out by the CALiPSO Project, a typological examination of
the figures coming from Akhmim has been performed; this has allowed to establish a recurrent
typological pattern for the shape and decoration of the figures.55 The artefacts have been
preliminarily subdivided in two main groups, depending on their characteristics;56 however, due to
the fact that the majority of the objects known pertain to the first group, a detailed typological
classification has only been possible for this very group of figures (called Group 1) at the moment
29
15 . typological suBDivision of akhMiMic ptah-sokar-osiris figures of group 1 (after rinDi
nuzzolo, traDition anD transforMation). froM left to right: figures with no interposeD
eleMents of Decoration (a1), figures DecorateD with a wingeD goDDess locateD Between
collar anD inscription (a2), anD figures with a shrine-shapeD penDant (a3)
(fig. 15).57 The group comprises figures having a particular body shape58 and presenting a number
of decorative patterns on the front side: simple figures with no decorations between collar and
inscription (type A1), figures presenting a winged goddess under the collar and a shorter column
of inscription (type A2), and figures decorated with a shrine-shaped pendant59 (type A3).
The second group of figures (Group 2)60 is constituted by objects having a different body
shape and cavity type: instead of having a recess with an entrance the back of the head, these
figures were manufactured in two halves which were later joined by means of a certain number of
wooden pegs and mortises such as to obtain a cavity running through the entire trunk of the figure
(fig. 1).61
The Ptah-Sokar-Osiris figure Budapest (inv. no. 51.2098) can be included in Group 1 due to the
presence of the particular features presented throughout this study,62 and thus can be classified as
an Akhmimic type A3. The figure, as already mentioned, can be included in Raven’s general
typology, and more specifically in group IVC, comprising figures with red body and gilded face;63
the figure can thus be fully classified as a type IVC / Akhmimic type A3.
On the other hand, the Ptah-Sokar-Osiris figure Budapest (inv. no. 51.244) can be ascribed to
Group 2 of Akhmimic objects due to its body shape and cavity type. It is important to keep in
mind that figures with a cavity in the trunk seem to be much rarer at Akhmim than in other
contexts; only two other artefacts with similar characteristics are known at the moment from
the survey of the CALiPSO Project64 and thus more figures are needed to ascertain the
particular features of this second group. The figure is a type IVF in Raven’s general typology,
comprising figures with black body and gilded or yellow face.65
It is extremely interesting to notice that, on a total of three examples, two (Budapest, inv. no.
51.244, Swansea, inv. no W2051) miss the front side; Swansea, inv. no. W2051 also lacks the final
part of the body, which is broken off by the knee. This is remarkable especially considering that
the third object (the statuette of the priest Hor, Melbourne D96/1982)66 is, with the only
exception of the wig and horns, completely gilded on its front side (fig. 16, left).67 The back
side of the Melbourne figure is well paralleled by Swansea (fig. 16, centre and right)68 almost in
an identical fashion and the latter could possibly represent another example of a
figure—probably manufactured for a wealthy person like Hor—which was originally provided
with a front side bearing a large amount of gold foil. This could easily offer a reasonable
explanation for the missing front side as well as for the fact that the figure seems to be oddly
broken off at knee level; this could represent an attempt to separate the front half of the
artefact from the back side when the figure was still fixed in the base socket.
30
16 . left anD centre : the ptah-sokar-osiris f igure of hor (MelBourne , national
gallery of victoria, inv. no. D96/1982) . right: the reMnant of the Back siDe of the
ptah-sokar-osiris figure (swansea , egypt centre , inv. no. w2051) . i woulD like to
thank aManDa DunsMore (senior curator, national gallery of victoria, MelBourne)
anD carolyn gravesBrown (curator, egypt centre , swansea) for g i v i n g M e t h e
possiBil it y to puBlish the photographs of the speciMens
Budapest inv. no. 51.244, on the other hand, has a slightly different decorative pattern on the
back side, in particular, concerning the shoulder area: the two falcon heads are present on a red
background as well as the collar and it does not seem that it could have been provided with the
same decoration of the Melbourne figure on the front side. However, this does not exclude that
a certain amount of gilding was nonetheless present. An intensive use of gilding on the front side
of these Akhmimic figures of the second group could reasonably represent a possible explanation69
for its absence that, although it may occur, it is rather uncommon (fig. 17).
Concerning this topic, and namely the possible presence of a certain amount of gold foil on the
front side of the figure inscribed for Djehutymes (inv. no. 51.244), it is useful to compare two
Akhmimic specimens kept respectively in Geneva70 (fig. 18) and Madrid71 with the figure in Budapest.
Even though these two figures pertain to Group 1 and have different, much slender body shapes
and cavity type (in the head, as opposed to the cavity in the trunk), the decoration of the back side
resembles the Budapest one executed almost in an identical fashion.
32
17 . the hacking of the gilDeD areas shown in two speciMens of Different t ypology. on
the left (lonDon, British MuseuM, inv. no. ea 9766) the gilDeD face has Been clearly cut
froM the top of the heaD after several atteMpts. to the right the figure’s (roanne, Musée
Des Beaux-arts J . Déchelette , inv. no. 2300 ) face appears insteaD to have Been choppeD
off in an upwarD MoveMent
18 . typological coMparison: the figure BuDapest, inv. no. 51 .244 (group 2, on the left)
asiDe the speciMen geneva, Musées D’art et D’histoire De la ville De genève, inv. no.
a 2002-0038 (group 1 – type ivf / a3 ). it is possiBle to notice the high Degree of siMilar-
ity throughout the entire the Back siDe. the front siDe shows a reMarkaBle use of gilD-
ing, which coulD represent an e xplanation for the aBsence of the saMe siDe for
the BuDapest figure
It is very interesting to notice that the front side of both these figures is decorated with a remark-
able amount of gold foil, which covers face, neck, lower section of the collar, shrine-shaped element below the collar and the entire column of inscription; it may be hypothesised that the figure in Budapest could have been originally provided with a similar decoration as well such as to cause the looting of the front side bearing the precious gold foil.
3 . 2 . p r o v e n a n c e a n D D at i n g o f t h e s p e c i M e n s
The Ptah-Sokar-Osiris figure (inv. no. 51.244), as it has been seen, pertains to Group 2 of the Akhmimic figures,72 which includes also the figures in Melbourne73 and Swansea,74 both provided with the same typological characteristics and both coming from Akhmim as well.75 Moreover, the object is provided with a particular kind of inscription naming a large cluster of gods in a particular order—together with the geographical determinant Ipw—which is only found on a high number of figures manufactured in the Akhmimic region as well as on other funerary furniture of the area.76
Its deco-rative program is paralleled by two other examples (of Group 1) coming from Akhmim as
well.77
The Ptah-Sokar-Osiris figure (inv. no. 51.2098) pertains to the Akhmimic figures of Group 1 (type A3), with which it shares all the major typological characteristics.78 The final part of the name of the owner is unfortunately illegible, but the name of the father is also mentioned on the figure: a certain Pahesi who has been suggested to be connected to the same Akhmimic family by Edith Varga79 and Elfriede Haslauer.80 The figure is also provided, on the top side of the base, with another type of inscription only found on objects produced in Akhmim:81 a hymn mentioning the rejuvenation of Osiris by means of the waters coming from Elephantine; this hymn is generally accompanied on the base by a decoration involving water-related elements—
ba-birds and heset-vases letting out streams of water, a square pool of water (as in the case of the Budapest figure, fig. 13) that can be further decorated with lotus flowers—which is only present on artefacts manufactured in Akhmim.
This type of water-related decoration is well paralleled by a coffin (Musée d’Yverdon-les-Bains et region, inv. no. MY/3775-2/3)82 and an offering table (Heidelberg, inv. no. 11),83 both from Akhmim. The former shows, on the footboard, exactly the same motif as the Akhmimic base London, inv. no. BM EA 36424: a wavy square pool of water from which flowers are blossoming; the latter has a decoration with two heset-vases letting out a stream of water and two ba-birds at the top corners, resulting very similar to the decoration on the base of the figure Cairo, Egyptian Museum, inv. no. TR 28+3+25+7 (fig. 12).84
34
Furthermore, the Budapest figure is provided with a very specific kind of cavity85 (typical of the first group), obtained in the head of the statue and accessible from the back side by removing a narrow lid. The preliminary results of the CALiPSO Project survey showed that on a total of forty objects produced in Akhmim, thirty-four figures were provided with this kind of cavity;85
moreover, it has been observed that the recurrence of the geographical determinant Hry ib Ipw is almost constant on figures with this type of head recess,86 which can therefore be considered as specific of the Akhmimic area.87
It is difficult to give precise datings due to the lack of excavated material; nevertheless, these two figures can be dated to the Ptolemaic Period with reasonable certainty not only through the com-
parison with several other Ptah-Sokar-Osiris figures coming from Akhmim,88 but also with the coffin production of the same area.89 As already mentioned, the two figures preserved in the Museum of Fine Arts, Budapest are unprovenanced; nevertheless, due to the recent survey carried out by the CALiPSO Project90 and the specific characteristics that have been presented so far, they can be right-
fully considered part of the Akhmimic funerary production.
Dr. Carlo Rindi Nuzzolo is PhD, researcher at the Monash University Melbourne,
Centre for the Study of Ancient Cultures.
a u t h o r ’ s n o t e
I would like to express my gratitude to Éva Liptay (Keeper of the Collection of Egyptian Art at the Museum
of Fine Arts, Budapest) for giving me the possibility to study the figures and to publish the results of the
research in this prestigious journal, as well as for her precious advice and kind availability.
n o t e s
1 Computer Aided Library-database for Ptah-Sokar-Osiris figures (www.calipsoproject.net).2 The results are published in C. Rindi Nuzzolo, “Tradition and Transformation: retracing Ptah-Sokar-Osiris
from Akhmim in Museums and Private Collections”, in T. J. Gillen ed., (Re)productive Traditions in Ancient
Egypt (= Aegyptiaca Leodiensia), Liège 2016.3 E. Varga, “Recherche Généalogique”, in L. Limme and J. Strybol ed., Aegyptus Museis Rediviva. Miscellanea in
Honorem Hermanni de Meulenaere, Bruxelles 1993, 185–96; E. Varga, “Statues funeraires en bois dans la collection
Égyptienne de Budapest”, BMHBA 83 (1995), 3–20.
35
4 The main bibliography on the subject is constituted by: J. Lipinska-Boldok, “Some problems of the funerary
figures of Egyptian god Ptah-Sokar-Osiris”, Bulletin du Musée National de Varsovie 2 (1961), 75–84; M. J. Raven,
“Papyrus-Sheaths and Ptah-Sokar-Osiris Statues”, Oudheidkundige des Mededelingen van het Rijksmuseum van
Oudheden te Leiden 59–60 (1978–79), 251–96; D. Aston, “Two Osiris Figures of the Third Intermediate Period”,
Journal of Egyptian Archaeology 77 (1991), 95–107. A new, updated typological classification is among the aims
of the CALiPSO Project and is currently underway.5 Varga 1995, 11 and 14–15.6 See below for further details on this specific subject.7 The left side of the figure only shows three rows. See fig. 3.8 Possibly a representation of poppy seeds. I am grateful to Colin A. Hope for discussing with me details
of the wsx-collar.9 Drawing by the author based upon a specimen of the same typology.
10 Hand copies by the author.11 H. Ranke, Die ägyptischen Personennamen I, Glückstadt 1935, 408, n. 5.12 Ranke 1935, 249, n. 10.13 A detailed analysis of this type of inscription is published in Rindi Nuzzolo forthcoming, paragraph 5.1.
Similar versions of this text are also found on other funerary material from Akhmim.14 A total of 29 specimens bearing this kind of inscription has been found so far, see ibid.15 Rindi Nuzzolo forthcoming, see also the CALiPSO Project survey.16 I disagree with H. C. Loffet, “Une statuette de Sokar-Osiris au musée Charles-Léandre de Domfront”, La revue
du Louvre et des musées de France 2 (2007), 27, note 4: “Pour celles [figures] provenant de la région d’Akhmîm ...
l’invocation au dieu Ptah est systématiquement omise.” From the inscriptions studied so far by the CALiPSO
Project this does not seem to be the case, as both the gods Sokar-Osiris and Ptah-Sokar-Osiris are largely
present in this particular type of text.17 A particular detail which is important to mention is that while Sokar-Osiris may be followed by Hry-ib Ipw
or Hry-ib qrs.t, Ptah-Sokar-Osiris is never addressed as (he) who resides in Ipw. Another remarkable detail
concerns the fact that, between the two gods, only Ptah-Sokar-Osiris is always followed by the appellative nTr aA,
while Sokar-Osiris is very rarely mentioned as great god. Rindi Nuzzolo forthcoming, paragraph 5.1.18 Other deities are rarely mentioned: one example (Rome, Musei Vaticani, inv. no. D6904) names Osiris
Khenty-khety and Min. Another example (base only) names Horus “avenger of his father”: the text is published
in F. G. Hilton Price, A Catalogue of Egyptian Antiquities in the possession of F. G. Hilton Price, London 1897,
225–26, cat. no. 2065, but the present location of this piece is currently unknown, see Rindi Nuzzolo forthcoming,
paragraph 5.1.
36
19 Varga 1993, 185–87 and 193–95. The figure is also published in K. A. Kóthay and É. Liptay eds., Egyptian Artefacts
of the Museum of Fine Arts, Budapest, Budapest 2010, 108–09 (b). See also I. Nagy, Museum of Fine Arts: Guide
to the Egyptian Collection (Collections of the Museum of Fine Arts 2), Budapest 1999, 85 (fig. 87). For previous
reference see Varga 1993, 185 and footnote no. 2.20 The Osirid beard is an extremely rare feature on Ptah-Sokar-Osiris figures coming from Akhmim, see Rindi
Nuzzolo forthcoming, paragraph 2.2.2.21 A distinctive characteristic of Ptah-Sokar-Osiris figures from Akhmim; see below for additional details.22 A detailed study on the types of cavities present on Osiris and Ptah-Sokar-Osiris figures is currently in preparation.23 See below for the discussion of this particular type of decoration.24 Hand copies by the author.25 Rindi Nuzzolo forthcoming, paragraph 5.3.26 Ibid., paragraph 5.3; specimens identified so far include: Barcelona, Museu Egipci de Barcelona, inv. no. E.206;
Boston, Museum of Fine Arts, inv. no. MFA 03.1626a-d; Edinburgh, National Museum of Scotland, inv. no.
A.1906.654; Geneva, Musées d’Art et d’Histoire de la Ville de Genève, inv. no. A 2002-0038; London, British
Museum, inv. nos. EA 32195, EA 36424 (concerning this specimen see the following footnote); Stanford, Cantor
Arts Center at Stanford University, inv. nos. JLS.21343, JLS.21344, JLS.21346.1; UK, private collection.27 A brief section of this text present on one specimen (the base, London, inv. no. BM EA 36424) was previously
mentioned in E. A. Budge, The Mummy, Cambridge 1925. However, until today no other parallel of this particular
hymn was known to exist on Ptah-Sokar-Osiris figures and thus the text remained overlooked.28 Budge 1925, 384–85.29 The only exception is represented by the Ptah-Sokar-Osiris figure (Geneva, inv. no. A 2002-0038, which
bears the text on the back side.30 See for instance the base of London, inv. no. BM EA 36424, where the decoration comprises a square lake with
waves; lotuses and flower buds are painted on top of the water in a naturalistic way. Hand drawing by the author.31 This is usually painted in alternate blue and red on a yellow ground, but other colours may be found; see the
use of green on the figure in Stanford (Cantor Arts Center at Stanford University, inv. no. JLS.21344).32 Even when they do not bear a copy of the hymn. See for instance the specimens Jaipur, Central Government
Museum, inv. no. 10718; Edinburgh, National Museum of Scotland, inv. no. A.1906.655; Detroit, Detroit Institute
of Arts, inv. no. DIA 69.5; Turin, Museo Egizio, inv. no. S. 272 RCGE 45513; Cairo, Egyptian Museum, inv. no.
TR 28+3+25+7; Columbia, Museum of Art and Archaeology, inv. no. 61.61; Chicago, Oriental Institute
Museum, inv. no. 357; Athens, National Archaeological Museum, inv. no. Ξ 5; Copenhagen, Ny Carlsberg
Glyptotek, inv. no. ÆIN 0658; Susa, Museo Civico della città di Susa, inv. no. AE64-66.
37
33 The figure and its text are published in Varga 1993, 196. Hand drawing by the author.34 F. Haikal, Two Hieratic Funerary Papyri of Nesmin 1, Brussels 1970, 16–19, 25–45 (pls. 5–9). Also M. Smith,
Traversing Eternity, Oxford 2009, 178, 190–91 and related bibliography.35 Smith 2009, 182.36 The waters from Elephantine constitute an important detail symbolising the Nile inundation bringing renewed
life to the land of Egypt. Moreover, Elephantine—and to a larger extent the region of the First Cataract—was
considered to be the place where the Nile flowed out from the Netherworld. Concerning this specific subject
and related bibliography see Rindi Nuzzolo forthcoming, paragraph 5.3.2.37 Rindi Nuzzolo forthcoming, paragraph 5.3.2.38 Ibid., paragraph 5.2.39 The hymn is very common on Ptah-Sokar-Osiris figures of type IV. Figures of type IVC, IVE and IVF usually
bear a longer version of the inscription if compared to specimens of type IVB. See Raven 1978–1979, passim;
Rindi Nuzzolo forthcoming, paragraph 5.2 and footnote n. 56. The hymn published by Raven in 1978–1979
does not include the final section, discovered during the survey of the CALiPSO Project, see C. Rindi,
“Ptah-Sokar-Osiris statuettes in the collections of the Egyptian Museum of Florence: chronology—typology—
history of the collections”, MA diss., Pisa 2012, 47–53.40 Raven 1978–79, 276.41 Compare, for instance, the text of the hymn (your seed will germinate) with the decoration present on the
base London, British Museum, inv. no. EA 36424. Also Rindi Nuzzolo forthcoming, paragraph 5.3.2.42 Which was classified as Inscription of the third type see Rindi Nuzzolo, ibid.43 Varga 1993, 185–96.44 Cairo, Egyptian Museum, inv. no. TR 28+3+25+7 (formerly inv. no. JE 20615).45 Cairo, Egyptian Museum, inv. no. JE 10699 (CG 9443).46 The figure is also provided with the same hymn naming a large cluster of gods. The description of the figure
is published in Varga 1993, 187, 193; for the recurrence of this particular kind of hymn (Akhmimic inscription
of the first type) see Rindi Nuzzolo forthcoming, paragraph 5.1.47 Varga 1993, 193.48 Graz, Archäologiemuseum Schloss Eggenberg, 23927.49 E. Haslauer, “Aegyptiaca im Archäologiemuseum Schloss Eggenberg”, Teil 1, in Graz. Landesmuseum Joanneum,
Graz 2012, 194–223.50 Varga 1995, 3: “Nous ne savons rien de la provenance de nos pièces, chaque pièce été acquise pa la Collection
sans provenance, en tant que don ou par achat.” According to Varga, the figure inv. no. 51.2098 was acquired
between 1934 and 1939. See also Kóthay and Liptay 2010., 108: the figure was transferred from the Hungarian
National Museum in 1934.
38
51 Varga 1993, 185. The only exception could be represented by the Ptah-Sokar-Osiris figure, inv. no. 51.1930,
which was probably found during A. Kamal’s excavations at Gamhoud; Varga 1995, 3 and n. 1.52 Raven 1978–1979, 267–68.53 Raven himself stated that his typology of type IV figures was only a rough one. Raven 1978–1979, 267. A new
typological classification is within the aims of the CALiPSO Project and currently underway.54 For Ptah-Sokar-Osiris figures of type IVC compare for instance the specimen kept in Slovenj Gradec,
Carinthian Regional Museum (Jakob Soklič Collection) coming from the Fayoum region. The figure is published
in E. Haslauer, “Spremstvo za večnost / Company for Eternity”, in M. Frelih et al., Egipčanski predmeti iz
Sokličeve zbirke = Egyptian Objects from the Soklič Collection. Koroški pokrajinski muzej, Slovenj Gradec, 18–21;
a new typological and geographical analysis of the figure is published in C. Rindi Nuzzolo, “Darilo iz Oaze:
Večni Krog Zivljenja, Smrti in Ponovnega Rojstva Skozi Kipec Ptah-Sokar-Ozirisa / A Gift from the Oasis:
The Eternal process of Life, Death and Rebirth through a Ptah-Sokar-Osiris figure”, in M. Frelih ed., Magija
Amuletov – The Magic of Amulets, Slovenski Etnografski Muzej, Narodna in Univerzitetna knjiznica, Ljubljana
2014, 149–55. For an example of a Ptah-Sokar-Osiris figures of type IVF coming from an excavated context see
the specimen found during the excavations of John Garstang at Nag el-Hissayeh, where it was found in
a rock-cut tomb. “In 1905 Professor John Garstang heard reports of illegal digging at the cemetery near the
village of Nag el Hissaya. He sent his assistant, Harold Jones, to record and rescue what still remained. Jones
found many looted tombs but discovered an undisturbed tomb”, which yielded a Ptah-Sokar-Osiris figure
of type IVF; see C. Rindi, Some remarks on the positioning of Ptah-Sokar-Osiris figures in Third Intermediate
and Late Period burials, in T. Lekov and E. Buzov eds., Proceedings of the Fourth International Congress for
Young Egyptologists: Cult and Belief in Ancient Egypt, Sofia, Bulgaria, 25–27 September 2012, 32. For a Ptah-Sokar-
Osiris figure of Theban origin and Ptolemaic dating see the specimen coming from the burial furniture of
the priest Hornedjitef in the British Museum (inv. no. BM EA 9736); part of the burial furniture is described
in S. Walker and M. Bierbrier, Ancient Faces, London 1997, 29–30. See also J. Quaegebeur, “A la Recherche du
haut clergé Thébain à l’époque Gréco-Romaine”, in S. P. Vleeming ed., Hundred-Gated Thebes, Leiden
– New York – Cologne 1995, 139–61 (pls. III–VII).55 Rindi Nuzzolo forthcoming, paragraph 3 and 4.56 Ibid., paragraph 1.2.57 Ibid., paragraph 3.58 Mainly defined by the presence of a cavity in the back of the head, which is usually found on specimens of this type.59 The chain of which could be more or less visible, depending on the case, or even hidden below the collar.
This shrine-shaped pendant may contain a number of seated or standing figures, rarely other symbols: Rindi
Nuzzolo forthcoming, paragraph 3.
39
60 Rindi Nuzzolo forthcoming, paragraph 4.61 Only three specimens are known at the moment, see below.62 Main details are: body shape, cavity in the back of the head and decoration including a shrine-shaped pendant
on the front side, below the collar.63 Other colours, as white and yellow, are often used in imitation of gilding. Raven 1978–1979, 267.64 Melbourne, National Gallery of Victoria, inv. no. D96/1982; Swansea, Egypt Centre, inv. no. W2051.65 Raven 1978–1979, 268.66 The figure is inscribed for Hor, stolist-priest of the fertility god Min of Akhmim, son of the stolist-priest of
Min and scribe of sacred writings, Djedhor. The figure is firstly published in C. A. Hope, “A Head of Nefertiti
and a Figure of Ptah-Sokar-Osiris in the National Gallery of Victoria”, Art Bulletin of Victoria 24 (1983), 47–62;
also C. A. Hope ed., Gold of the Pharaohs (August 17, 1988 – June 11, 1989), Melbourne 1988, 72–73. Concerning
the burial assemblage of Hor, which has been dispersed through different museums, see most recently the
study of J. P. Elias and T. Mekis, “The yellow-on-black coffin of the oracle scribe Hor in the Swansea Museum
(SWASM SM 1882: 1–2)”, Chronique d’Egypte 90 (2015).67 The specimen is also the only one known, at the moment, to be decorated with a layer of silver foil on the base.
I would like to thank Amanda Dunsmore (Senior Curator, National Gallery of Victoria, Melbourne) and
Carolyn Graves Brown (Curator, Egypt Centre, Swansea) for giving me the possibility to publish the photographs
of the specimens. I am grateful for this information to Colin A. Hope (Centre for the Study of Ancient Cultures,
Monash University), who conducted the first study of the statuette.68 In particular, both figures do not show the falcon heads on the back side of the shoulders which are entirely
painted black.69 This phenomenon of hacking the gilded areas is common on Ptah-Sokar-Osiris figures (fig. 17) as well as on
other kinds of material involving the use of gilding. See, for instance, the coffin set of the Singer of Amun
Nany in New York, Metropolitan Museum of Art, inv. nos. 30.3.23; 30.3.24a,b; 30.3.25 where the gilded
face has been hacked away from outer coffin, inner coffin and mummy board.70 Geneva, Musées d’art et d’histoire de la Ville de Genève, inv. no. A 2002-0038. I would like to thank Jean-Luc
Chappaz (curator, Musées d’art et d’histoire, Genève) for authorising the study and publication of the figure.71 Madrid, Museo Arqueológico Nacional, inv. no. 15241. For the photograph of this specimen see Rindi Nuzzolo
forthcoming. “I would like to thank Ester Pons Mellado (Curator of the Egyptian collection, Museo
Arqueológico Nacional – Madrid) for allowing the study and photography of the figure.”72 Rindi Nuzzolo forthcoming, paragraph 4.73 Melbourne, National Gallery of Victoria, inv. no. D96/1982.
40
74 Swansea, Egypt Centre, inv. no. W2051.75 For the Melbourne figure: Hope 1983, 47–62; also Hope 1988, 72–73. The Swansea figure is published in
S. Schoske, “Problems with Ptah-Sokar-Osiris Figures”, in J. G. Griffiths and K. Bosse-Griffiths, Amarna
Studies and other selected papers (Orbis Biblicus et Orientalis 182), Göttingen and Fribourg 2001, 181–88.76 Rindi Nuzzolo forthcoming, paragraph 5.1.77 Geneva, Musées d’art et d’histoire de la Ville de Genève, inv. no. A 2002-0038; Madrid, Museo Arqueológico
Nacional, inv. no. 15241.78 Rindi Nuzzolo forthcoming, paragraph 2.2.4 and 3. The order of the collar rows is slightly different than
the one observed in the majority of the specimens.79 Varga 1993, passim.80 Haslauer 2012, 210–11 and footnotes 117–18, 122.81 Rindi Nuzzolo forthcoming, paragraph 5.3.82 R. Brech, Spätägyptische Särge aus Achmim, Hamburg 2008, 194–96.83 J. Assmann, Tod und Jenseits im Alten Ägypten, Munich 2003, 452.84 I am grateful to Éva Liptay for suggesting these references.85 Ibid., paragraph 2.3.1.86 Ibid., paragraph 5.1.87 A the moment, on more than 1100 specimens investigated by the CALiPSO Project so far, only one figure (coming
from Thebes) is known to be provided with this type of cavity. See Rindi Nuzzolo forthcoming, paragraph 7.88 Rindi Nuzzolo forthcoming.89 Ibid., paragraph 6.90 Ibid.
41
