Egyptian

Author(s): Catharine H. Roehrig and Marsha Hill

Source: The Metropolitan Museum of Art Bulletin, New Series, Vol. 49, No. 4, Ancient Art:
Gifts from the Norbert Schimmel Collection (Spring, 1992), pp. 22-36+57-59
Published by: The Metropolitan Museum of Art
Stable URL: http://www.jstor.org/stable/3258920
Accessed: 17-12-2017 11:08 UTC

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and
extend access to The Metropolitan Museum of Art Bulletin

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 EGYPTIAN

I989.281.90 I989.281.9I

* Monkey Holding Her Baby wear around the edges of the suspension hole and the
base suggest that this piece was used by a living owner
Amethyst and not designed specifically as an amulet for the dead.
Height i3/8 in. (3.5 cm)
CHR
Egyptian, Dynasty i2, ca. 1991-1783 B.C.
Gift of Norbert Schimmel Trust, 1989
1989.281.90
Ex coll.: Norbert Schimmel
Beauty I964, no. 89; Ancient Art 1974, no. 176; Troja bis
Amarna I978, no. 205
* Hedgehog
Faience
The monkey sits holding her baby close to her chest.
She is exquisitely carved, her hands and feet carefully Diameter 21/4 in. (5.8 cm)
Egyptian, Middle Kingdom, ca. 2040-I640 B.C.
delineated, as are the tufts of hair nearly covering her
Gift of Norbert Schimmel Trust, I989
ears, and her tail, which curves around her right side. I989.281.91
The baby, whose head is missing, is also beautifully Ex coll.: Norbert Schimmel
formed. Its small hands clutch the mother's sides, its Ancient Art I974, no. 230; Troja bis Amarna I978, no. 207;
legs and feet curl around her body just below her arms, Vera von Droste zu Hulshoff, Der Igel im alten Agypten,
and its tail falls between her feet. At the back, just belowHildesheimer Agyptologische Beitrage II, Hildesheim, 1980,
the level of the mother's shoulders, a hole has been drilled no. 120
for suspension.
Monkeys, not native to Egypt, were imported as ex- This sphere represents a hedgehog, tightly cu
otic pets and frequently appear as decoration in the minor defense. The head, feet, and tail are shown in
arts. The pose of this pair is first seen in Old Kingdom animal's spines are indicated by black dots. The eyes
toilette articles such as a large Egyptian alabaster cos- and the rims of the large ears are also highlighted in
metic jar (3o.8.I34) in the Museum that also depicts ablack. Before firing, two holes were pierced through the
mother monkey and her baby. The Schimmel example surface at equal distances above and below the relief,
probably dates to Dynasty 12 of the Middle Kingdom, but not quite on the axis of the sphere. The holes were
when amethyst was frequently used as a material for probably made simultaneously by one instrument, since
miniature representations of animals. The image of a they are exactly aligned. The hollow ball was most likely
mother and infant of any species is often interpreted as formed in two halves, as suggested by a hairline crack
symbolizing rebirth. However, small chips and signs of along part of the circumference.

22

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 I I t
*>: - \4 S

-i t

\1 , ^-
I''v, '

?;

I1-
I I It, '-- '''X
, - I -I
,,
'k - , - k'
-
, -, "'k: -

. -'-l 1 I - -1 --

I* .,
V :, k,t7 ,

V'
I 4 - I
, -. *I< - 6 :, , , ,
- - ,

111t -, I ; -4"-
r ,- I '.

v
';

NV Vc
4
'A Vc~~~ -~~ A

', , - , I,
I 1- I N",

& , I - . I

N-. V Jk-'
- il,
,, X I ~ . -I -, I ?
I., - I T.-.11 . , " I'telw,,
-, , i.
I '4 'iI

- v,-,ill I
. I ... I
. " I i,. I ,

,;I

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 Previous identification of the piece as a rattle seems
incorrect. There is nothing inside to make noise, and
the holes are too small for the insertion of pebbles or
other objects. It is also a different shape from known
rattles. Only one hole was needed to prevent explosion
during firing, and chipping of the glaze at the upper edge
of both holes suggests that the piece was suspended. In
the Middle Kingdom large spherical beads were worn
on necklaces and as hair ornaments, but determining
the actual use of this object is problematic because of
its very large size and because the symbolic role of the
hedgehog is as yet undetermined. A similar piece in the
Royal Scottish Museum, Edinburgh, is pierced horizon-
tally rather than vertically.
CHR

* Monkey Holding a Kohl Tube

Glazed steatite
Height 23/8 in. (6 cm)
Egyptian, early Dynasty i8, ca. 1550-1479 B.C.
Gift of Norbert Schimmel Trust, I989
I989.281.101O
Ex coll.: Norbert Schimmel
Sale cat. 3, Galerie Nefer, Zurich, I985, no. 43

The Egyptians' use of eye cosmetics to enhance beauty

and for prophylactic purposes is well documented both
in artistic representations and by the cosmetic vessels
that have been preserved from the earliest times. The
most common substance utilized in the New Kingdom
was kohl, a dark gray powder made from galena. Kohl
was frequently stored in decorated tubes with long, slim
sticks made of polished wood or stone as applicators.
As in earlier periods, representations of monkeys often
decorated cosmetic vessels in the New Kingdom. In this
example the monkey stands balanced on its tail, its left
leg slightly forward and its hands clasping a kohl tube.
The ears, the ridges above the eyes, the nose, and the
tufts of hair on the cheeks were carved with care. The
stone was covered with a thin glaze ranging in color from
light to dark blue-green, but the grain is visible, giving
the impression of heavily veined turquoise.
Two small holes were drilled into the sides of the kohl
I989.28I.I0I
tube. These match holes in the tenon of the lid, which
was held in place by two small wooden dowels. Frag-
ments of these dowels remain in the lid. The cavity is
1.5 centimeters in diameter at the top and 2.8 centime-
ters deep, with traces of black kohl clinging to the inside.
CHR

23

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 1 Head of a Woman
Hippopotamus ivory, traces of Egyptian blue
Height i I/8 in. (2.7 cm)
Egyptian, late Dynasty i8, reign of Amenhotep in,
ca. I39I-I353 B.C.
Gift of Norbert Schimmel Trust, I989
I989.281.93
Ex coll.: Norbert Schimmel
Ancient Art I974, no. 206; Troja bis Amarna I978, no. 236

Although this ivory head is minute in scale, the smooth

full curves of the cheeks, the slanted eyes, the finely
accentuated edge of the lips, and the graceful flaring of
the throat have been flawlessly shaped.
The head is finished at the throat and the top, which
slopes down toward the back. Running through its length
mu;i? is a hole intended for wooden dowels (one still projects
* l Ls ^ from the neck) that would have served to attach the head
: ij! to a body and a wig. Shallow holes on either side above
i989.28I.93 the jaw perhaps anchored the hair or a pair of earrings.

- - - - - - -

Microscopic traces of pigment indicate that the eyes,

brows, and probably the wig were once intense blue.
It has been suggested that the head was part of a royal
composite statuette. However, scale, construction, and
material also recall a type of elaborate spoon, its handle
formed by the figure of a nude girl swimming with head
erect, her arms extended to hold a goose, lotus, or other
element that becomes the spoon's bowl (see illustra-
tion above).
Stylistic clues to dating are somewhat ambiguous at
this small scale. The flesh folds in the neck indicate the
piece was made no earlier than the reign of Amenhotep in.
The shapes of the eyes and the brows suggest his reign,
and while the sweet, taut mouth approximates a Rames-
side feature, a head of Amenhotep's queen in the Mu-
seum of Fine Arts, Boston, also has a similar mouth.
The piece is here dated to the period of Amenhotep in,
but it could also be an early Ramesside example.
MH

24

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
* The Amarna Reliefs

For a brief time toward the end of Dynasty i8 the pha- throughout Egypt's history. Many of the stones were
raoh Amenhotep iv made radical changes in the officialtransported piecemeal to the site of Hermopolis, several
religion of Egypt. He attacked the cults of the major miles to the north across the river from Tell el-Amarna.
gods, especially that of Amun of Karnak, and set up in There they were used in the foundation of a temple built
their place the worship of Light, whose physical mani- by Ramses ii, and there is reason to believe that the
festation was the disk of the sun, or Aten. He changed Schimmel reliefs came from this site.
his name from Amenhotep (Amun is satisfied) to Akh- In I98I and I985 Norbert Schimmel gave the Museum
enaten (effective for Aten). He also moved the capital twenty-five carved limestone blocks dating from the
from Thebes, the cult center of Amun, to a new loca- Amarna Period, which include some of the finest exam-
tion that had not previously been inhabited. He called ples of relief from the time of Akhenaten. These frag-
the new city Akhetaten (horizon of Aten). Akhenaten's ments are only the decorated surfaces of the small
seventeen-year reign, known as the Amarna Period, de- building stones that were used in the temples and pal-
rives its name from the modern designation for the an- aces erected by Akhenaten, both at Amarna and, earlier,
cient city of Akhetaten, Tell el-Amarna. at Thebes. Originally the carved blocks measured an av-
The religious changes introduced by Akhenaten did erage of one Egyptian cubit (215/8 in.) in length by one-
not permeate deeply into Egyptian society and were re- half cubit in height and thickness. Most of the paint on
versed shortly after his death. His new city was aban- them appears to be modern, although traces of the an-
doned. Over a period of years the great temples and cient pigments are preserved.
palaces of Akhetaten were dismantled for their building CHR
materials, a fate suffered by numerous stone structures

1985.328.2

* Akhenaten Presenting a Duck to Aten One of the most common themes in the art of the
Amarna Period is the representation of Akhenaten, usu-
Painted limestone
ally accompanied by members of his family, making of-
Height 95s/8 in. (24.5 cm)
ferings to Aten. The god is shown as the sun disk, its
Egyptian, Dynasty i8, late in the reign of Akhenaten,
ca. I345-1I335 B.C.
rays streaming down on the scene. These rays end in
Gift of Norbert Schimmel, i985 hands, some of which touch the king or proffer an ankh,
1985.328.2 the hieroglyphic spelling of the word life.
Ex coll.: Norbert Schimmel This fragment of an offering scene is typical of the
Beauty 1964, no. 105; Amarna 1967, no. i; Ancient Art 1974, period. Great care has been taken to show both of the
no. 242; Troja bis Amarna 1978, no. 287; Peter E Dorman, et king's hands in a naturalistic fashion, although the po-
al., The Metropolitan Museum of Art: Egypt and the Ancient sition of the right hand is in fact extremely awkward,
Near East, New York, The Metropolitan Museum of Art, 1987,and the wings of the bird do not actually pass through
p. 58, pl. 39

25

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 1981.449

I985.328.6

26

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
the king's left fist. These details, however, do not de- the right along the lower edge of the block. The text in
tract from the aesthetic beauty of the composition. The the upper right has been intentionally destroyed, leav-
relative naturalism of the pose sharply contrasts with ing only a few traces of the hieroglyphs.
the art of other periods. CHR
It has been suggested that Akhenaten's queen, Nefer-
titi, was to the right of this scene, offering the duck
whose foot and belly are in the lower right corner of the
* Two Princesses
block. Although Nefertiti is prominent in the art of this
period, even appearing as the principal figure in numer- Painted limestone
ous offering scenes from which the king is absent, she Height 8s/8 in. (22 cm)
is never shown facing him across an offering table. It is Egyptian, Dynasty i8, late in the reign of Akhenaten,
more likely that this scene depicts Akhenaten standing ca. 1345-I335 B.c.
Gift of Norbert Schimmel, I985
before an offering table already laden with gifts, includ-
I985.328.6
ing at least one other duck. If Nefertiti appeared in the
Ex coll.: Norbert Schimmel
scene, she was probably in her customary position be-
Beauty I964, no. iio; Amarna I967, no. 7; Ancient Art 1974,
hind Akhenaten.
no. 247; Troja bis Amarna I978, no. 292
CHR

The demonstration of affection in this detail depicting

two of Akhenaten's daughters is typical of the intimacy
allowed in representations of the royal family in the art
* Akhenaten Clutching an Olive Branch of the Amarna Period. Although affectionate gestures
Painted limestone are not entirely unknown in royal art of other eras, the
Height 85/8 in. (22 cm) naturalism of the pose and the fully frontal treatment
Egyptian, Dynasty i8, late in the reign of Akhenaten, of the torso of the older (larger) sister are unparalleled
ca. I345-1335 B.C. among royal figures and extremely rare in any type of
Gift of Norbert Schimmel, 1981 representation in other periods of Egyptian art.
I981.449
CHR
Ex coll.: Norbert Schimmel
Beauty I964, no. 107; Amarna 1967, no. 3; Ancient Art 1974,
no. 244; Troja bis Amarna 1978, no. 289; Peter E Dorman, in
Notable Acquisitions I981-I982, New York, The Metropoli- * Two Bowing Courtiers Behind Nefer
tan Museum of Art, I982, pp. 6-7
Painted limestone
Height 87/8 in. (22.5 cm)
In this fragment only the beautifully carved left hand of
Egyptian, Dynasty i8, late in the reign of Akhenaten,
Akhenaten remains, holding a heavily laden branch of
ca. 1345-1335 B.C.
olives that appears to be caressed by the graceful hands Gift of Norbert Schimmel, i985
of the sun's rays. The entire scene would have shown I985.328.7
the king standing directly beneath the sun disk, facing Ex coll.: Norbert Schimmel
what appears to be the olive tree from which he may Beauty I964, no. III; Amarna I967, no. 8; Ancient Art 1974,
have cut the branch. The upper boughs of the tree are to no. 248; Troja bis Amarna I978, no. 293

I985.328.7

27

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
The representations on Amama blocks preserve only por- The suggestion that they are palanquin bearers is highly
tions of much larger images from temple walls. Fortu- unlikely. Palanquin poles are invariably depicted as solid
nately, the tombs at Tell el-Amarna seem to have been and absolutely straight, unlike the slightly curving par-
covered with similar types of decoration, and by com- allel strands obscuring the necks of these men. In fact,
paring the fragments with the more complete tomb il- their upward gazes, the position of their arms, and the
lustrations, it is often possible to re-create the temple slant and length of the staffs suggest that they are hold-
scenes. ing fans or sunshades, probably, given their size, for the
king or queen. The awkward position of the arms pre-
For example, this block preserves part of an offering
vents as
scene. The large figure to the right can be identified thema from obscuring the carefully carved faces. It
woman by the garment and the line representing is possible
her that the men appeared in the background of
upper thigh at the lower right of the block. The a royalsizeprocession, behind a chariot, and the strands at
suggests that the figure is Nefertiti. She is oftenthe bottom of the block are the reins.
shown
followed by the royal princesses and attendants inCHR several
registers, one above the other. The smaller figures to the
left are two bowing male and two standing female court-
iers. The princesses probably appeared in larger scale in
the register below these figures. The profiles of the male
courtiers show the long features that are typical*of Female
the Musicians
Amarna Period and reflect representations of Akhenaten
Painted limestone
himself, although in less exaggerated form. The Height
compo- 8'/4 in. (21 cm)
sition is very graceful. If one looks at the individual ele- Dynasty i8, late in the reign of Akhenaten,
Egyptian,
ments, however, one finds that the position of the ca. men's
I345-1335 B.C.

arms and hands is impossible. Most jarring is the Gift

rever- of Norbert Schimmel, I985
I985.328.12
sal of the hands, the left hands attached to the right
Ex coll.: Norbert Schimmel
arms and vice versa. This manipulation of body parts is
Beauty I964, no. 116; Amarna 1967, no. I7; Ancient Art 1974,
typical of Egyptian art and is done for the sake of clarity
no. 253; Troja bis Amarna 1978, no. 298
at the expense of anatomical accuracy.
CHR

* Attendants of the Royal Family

* Four Royal Attendants Painted limestone
Height 9 in. (23 cm)
Painted limestone
Egyptian, Dynasty i8, late in the reign of Akhenaten,
Height 91/2 in. (24 cm) ca. 1345-I335 B.C.
Egyptian, Dynasty i8, late in the reign of Akhenaten, Gift of Norbert Schimmel, I985
ca. 1345-I335 B.C. I985.328.10
Gift of Norbert Schimmel, i985 Ex coll.: Norbert Schimmel
I985.328.13 Beauty I964, no. II4; Amarna I967, no. II; Ancient Art I974,
Ex coll.: Norbert Schimmel
no. 251; Troja bis Amarna 1978, no. 296
Beauty I964, no. II7; Amarna I967, back cover; Ancient Art
1974, no. 254; Troja bis Amarna I978, no. 299; Peter E
These two reliefs are excellent examples of the exagger-
Dorman, in Recent Acquisitions: A Selection, I985-I986, New
York, The Metropolitan Museum of Art, I986, pp. 6-7 ated softness and grace with which the human body was
portrayed in the art of the Amarna Period. The slender,
Some of the relief fragments have no exact parallels in elongated limbs, the wide hips and thighs of the women,
more complete tomb representations. Interpretation of and the bulging bellies of the men are characteristic of
such scenes is difficult and, in some cases, still open to the Amarna style. The figures in the procession appear
to be less stiff than is usual in Egyptian art. The varied
debate. One instance is the fragment illustrated here.
These men are usually described as foreigners, and the hand positions of the five female musicians give an illu-
sion of movement, although the strumming motions of
hairstyle of the third man is typically Nubian. How-
ever, although the first two figures appear from their
the two lute players would be impossible to achieve.
The second woman is not playing a stringed instrument,
features to be Asiatics, they are clean-shaven and have
and has been described as a singer. However, she holds a
no distinguishing characteristics identifying a specific
long, slim object in her right hand. Depictions of musi-
ethnic group. Even their hair is similar to a style occa-
cal ensembles from Dynasty i8 frequently include a mu-
sionally worn by Egyptians (for example, the bowing man,
sician playing a pair of slender pipes, and it is possible
opposite, bottom).
that this woman is a pipe player.
Whether or not they are all foreigners, the men seem
to be in attendance on the royal family at a ceremony. CHR

28

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 I985.328.I3

I985.328.12

I985.328.IO

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 I985.328.I8

m Two Chariot Horses ued and expanded during the Amarna Period. In this
superb example the artist has captured the moment when
Painted limestone
the near horse scratches its leg. Such a mundane action,
Height 9 in. (23 cm)
even on the part of an animal, would probably not have
Egyptian, Dynasty i8, late in the reign of Akhenaten,
ca. I345-I335 B.C.
appeared in a ceremonial context during any other era.
Gift of Norbert Schimmel, I985 CHR
I985.328.18
Ex coll.: Norbert Schimmel
Beauty I964, no. 122; Amarna i967, no. i8; Ancient Art I974,
no. 259; Troja bis Amarna 1978, no. 304; Catherine * Desert Scene with Antelope
Rommelaere, Les chevaux du Nouvel Empire egyptien,
Painted limestone
Brussels, I991, pp. 54, 56, 74; fig. 77
Height 9 in. (23 cm)
Egyptian, Dynasty i8, late in the reign of Akhenaten,
Numerous representations of horse-drawn chariots are
ca. 1345-I1335 B.C.
included in the official scenes from Amarna. This pair Gift of Norbert Schimmel, i985
of horses was undoubtedly one of many shown outside I985.328.2I
a temple or palace awaiting the return of their passen-Ex coll.: Norbert Schimmel
gers. Throughout Egyptian history artists took great careBeauty I964, no. I25; Amarna I967, no. 20; Ancient Art I974,
in the depiction of animals, a tradition that was contin- no. 262; Troja bis Amarna I978, no. 307

30

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
These young antelope are shown in their desert habitat. It is possible that these antelope were part of a scene
The two animals whose heads are preserved are feeding depicting sunrise. Two representations in the royal tomb
on an unidentified plant with spiky leaves. The third at Amarna show wild animals greeting the rising sun
and foremost animal of the group has been described as outside the temple where the king and his family are
having long, sweeping horns, but the supposed horns are performing the morning ritual. A similar image from a
in the wrong position and are probably more leaves of temple of this period has been found at Thebes. The
the plant. Since the antelope are eating quite calmly, it size of the animals on the Schimmel relief suggests that
is unlikely that they were part of a hunting scene. The the scene would have been monumental in scale and
three animals in the upper group seem to be rearing up prominent in the structure that it decorated.
on their haunches; the front hooves of two of them are CHR
visible in the upper right.

I985.328.23

* Grapevine This fragment shows a very successful integration of two

decorative carving techniques. The delicate outlines of
Painted limestone
the leaves and their veins are lightly incised into the
Height 9 in. (23 cm)
Egyptian, Dynasty i8, late in the reign of Akhenaten, surface, while the heavy, dense clusters of grapes are in
ca. 1345-1335 B.C.
well-modeled sunk relief. This is the only architectural
Gift of Norbert Schimmel, I985 block in the Schimmel collection. The rough strip to
I985.328.23 the left, about 3/8 inch wide, was probably a highly raised
Ex coll.: Norbert Schimmel and rounded astragal protecting the corner of a small
Beauty I964, no. 127; Amarna I967, no. 22; Ancient Art 1974, shrine. A similar block, with the astragal preserved and
no. 264; Troja bis Amarna I978, no. 309; Peter E Dorman, in decorated on one face with vines, was found in the ex-
Recent Acquisitions: A Selection, 1985-I986, New York, The
cavations at Hermopolis in 1939, and it is possible that
Metropolitan Museum of Art, I986, pp. 6-7 the two blocks came from the same structure.

CHR

3I

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 1985.328.24

* Ripe Barley ally held

of the li
Painted limestone
chitectur
Height 9 in. (23 cm)
resentations of wild animals and living plants were
Egyptian, Dynasty i8, late in the reign of Akhenaten,
ca. I345-I335 B.C.
common in both palaces and temples. This fragment
Gift of Norbert Schimmel, I985 gives no clue as to its original context. The ears of bar-
I985.328.24 ley are lifesize and have been very naturalistically carved
Ex coll.: Norbert Schimmel so that they seem to bend in a gentle breeze coming
Beauty I964, no. 128; Amarna I967, no. 24; Ancient Art 1974, from the left. The scale and the superb quality of the
no. 265; Troja bis Amarna I978, no. 310 relief suggest that the block formed part of a prominent
scene, perhaps filling a role similar to that of the wild
Beginning in the Old Kingdom, the harvest of grain is animalsa greeting the sunrise (p. 30).
typical motif in private tombs. Although temple scenesCHR
showing the pharaoh ritually cutting stalks of grain, usu-

* Protome Showing a Lion Holding the

Head of a Nubian in Its Jaws
Egyptian blue, gold
Length 3/4 in. (4.3 cm); width II/8 in. (2.9 cm)
Egyptian (said to be from Qantir), late Dynasty i8-
early Dynasty 19, ca. 1391-1280 B.C.
Gift of Norbert Schimmel Trust, I989
I989.28i.92
Ex coll.: Norbert Schimmel
Ancient Art I974, no. 202; Troja bis Amarna I978, no. 232;
Arielle P. Kozloff, "Symbols of Egypt's Might," Bulletin of the
Egyptological Seminar, 5 (I983), pp. 61-66

The image of a lion, which symbolizes the pharaoh, sub-

jugating a Nubian, one of the traditional enemies of
Egypt, is frequent in early Ramesside art, especially dur-
ing the reign of Ramses ii. The usual rendition shows a
-1
bound Nubian kneeling before a lion that holds the back
I I -

of the man's head in its jaws. Undoubtedly this pose is

shown here in abbreviated form. The contours of both
faces are modeled with superb naturalism, while the
animal's mane, ears, and the wrinkles at the corners

32

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
of its widely stretched mouth are more stylized. Three
of the lion's eight gold teeth remain on its right side,
and the stub of a fourth, on its left. The gold linings of
its eye sockets are preserved but the inlaid eyes are gone.
Only one of the Nubian's eyes, rimmed and inlaid with
gold, remains intact.
Two fly whisks with gilded lion heads were found in
the tomb of Tutankhamun, and this protome may also
have decorated a royal fly whisk or whip handle (see
drawing). The lion's hollow neck has two small holes
allowing the piece to be doweled in place.
The high quality of the workmanship has been used
to date this piece to the reign of Amenhotep III. How-
ever, exquisite craftsmanship is also found in minor arts
dated to the reign of Ramses II. In addition, the lion in
this example has no indication of lachrymal, or tear,
lines beneath the eyes, a common feature of late Dy-
nasty i8 representations of felines, often lacking in early
Ramesside examples.

CHR

U Cosmetic Container in the Form of

a Bes-Image Holding the Cap of a Kohl
Tube
Faience

Height 35/8 in. (9.2 cm); width -3/4 in. (4.4 cm)
Egyptian, probably Dynasty 27, 525-404 B.C.
Gift of Norbert Schimmel Trust, I989
I989.281.94
Ex coll.: Norbert Schimmel
Ancient Art I974, no. 2II; Troja bis Amarna I978, no. 24I;
James E Romano, "The Bes-Image in Pharaonic Egypt," Ph.D.
diss., New York University, I989, p. I82, n. 412; Romano, "The
Date of the Schimmel Bes-Image," paper presented at the
American Research Center in Egypt annual meeting, Chicago,
i988; Romano, letter to C. H. Roehrig, November I991

This squat human form with leonine features is com-

monly identified as the god Bes, but several other minor
Egyptian gods were also represented by this image. These
were protective deities, so they appear frequently as
apotropaic figures in the decoration on furniture and per-
sonal belongings. Here, the god stands holding the cap
of a kohl container, which has a small round hole in
the top for insertion of an applicator. It seems likely
that the hollow cap fit over a tube that could be de-
tached for easy filling.
The god's features are carefully modeled. His protrud-
ing tongue is outlined against the full lower lip. The
eyes have a center dot of gray-blue and are rimmed with
raised cosmetic lines that extend to the hairline, as do
the heavy eyebrows. The hair is smooth, but manelike
whiskers are sharply etched, with small holes at the
ends indicating tight curls. Although the god usually
has a tail of his own, the tail here clearly belongs to his
leopard-skin garment. The narrow brown belt was ap-
plied separately; a section has chipped away, leaving a
distinct groove. The hollow rectangular modius on the I989.28I.94

33

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 god's head perhaps held a feathered crown, cemented in
place with Egyptian blue, traces of which remain. The
back of the right arm has been repaired.
Previous catalogues date this piece to Dynasty 19. How-
ever, the earliest firmly dated Bes-image wearing a leop-
ard skin comes from Dynasty 25, and it has been
convincingly demonstrated that the style and iconogra-
phy of this example date to Dynasty 27.
CHR

* Ram's-Head Amulet
Gold
Height is/8 in. (4.2 cm); width i3/8 in. (3.6 cm)
Egyptian, Dynasty 25, ca. 770-657 B.C.
Gift of Norbert Schimmel Trust, I989
I989.281.98

Ex coll.: Norbert Schimmel

Troja bis Amarna I978, no. 252

This amulet was probably part of a necklace worn by a

Kushite king. Representations of these pharaohs some-
times show them wearing a ram's-head amulet hung from
a cord tied around the neck. The ends of the cord fall
forward over the king's shoulders, often with a smaller
ram's head attached to each end. The central ram usu-
ally has a large sun disk and one or two uraeus cobras
on its head. The smaller amulets generally lack the sun
disk, suggesting that the Schimmel example was a side
pendant from this type of ornament. Rams were associ-
ated with Amun, especially in Nubia, where the god
1989.281.98 was particularly revered. Ram's-head amulets are first
used in the royal iconography of Dynasty 25, and al-
though they are not seen in later Egyptian art, they con-
tinue in the royal art of ancient Nubia.
The amulet is superbly crafted in gold. A rectangular
tab beneath the ram's chin indicates its beard. The ani-
mal's head is topped with a uraeus cobra. The snake's
tail curves up behind its hood to form a loop with a hole
just above the ram's horns and then extends about half-
way down the back of the ram's head. The amulet is
very similar in style to a jasper example with a double
uraeus in the Brooklyn Museum. A third amulet, of fa-
ience, is in the Museum's collection (3 5.9.8). In all three
the cobras have small spheres on their heads, another
feature that may be specifically Nubian.
CHR

34

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
* Head of a Priest The man's bagwig, now mostly destroyed, was in-
scribed with magical texts of a type recorded most com-
Basalt
Height 8-/8 in. (21.2 cm); width 53/4 in. (I4.5 cm)
pletely on the Metternich stela (50.85). These texts
Egyptian, mid- to late 4th century B.C., probably reign of protect against scorpions, snakes, and other dangerous
Nectanebo II, 360-343 B.C. animals, and were inscribed on statuary only in the fourth
Gift of Norbert Schimmel Trust, i989 century B.C. Both stylistically and textually, the head
1989.281.102 can be attributed to the middle or second half of that
Ex coll.: Norbert Schimmel century. On two well-preserved statues of this type (in
Sale cat., Sotheby's, New York, February 8-9, I985, no. 24; the Louvre and the Egyptian Museum, Cairo) only the
Bernard V Bothmer, "Egyptian Antecedents of Roman Repub-skin of the faces, hands, and feet is uninscribed. The
lican Verism," Quadernie de 'La ricerca scientifica,' II6 (1988),
head probably came from a statue similarly covered with
pp. 60-62, pls. 9-II
text. In contrast to other statues, the hieroglyphs across
the man's brow are right side up.
This magnificent fragmentary head, previously in the
It is thought that water was poured over these statues
Nadler collection, is about two-thirds lifesize. It depicts
and then was used medicinally, having taken on the mag-
a man well advanced in years, as indicated by the fur-
ical quality of the texts. With this in mind, and consid-
rowed brow, the very linear crow's-feet, the pronounced
ering the large size of the head, it is unlikely that the
nasolabial folds, and the sharply etched lines in the
original statue was in an upright, striding position. Lack-
cheeks. The head also has a weak chin; the full throat
ing a beard, it was probably not a block statue, which at
almost completely obscures the jawline, perhaps another this time always had a beard. Possibly the figure was
indication of the subject's old age. It has been pointed kneeling and held a small magical stela or cippus.
out that heads such as this show characteristics usually
CHR
identified with later Roman portraiture.

35

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 FRONT I989.281.97 BACK

and back and long, wide sleeves hemmed at the narrow

* Sculptor's Model
cuff. Over the robe is a long wraparound; the hemmed
Limestone
warp edge is indicated by two vertical lines. The hem of
Height 9 in. (23 cm); width 3 V/ in. (9 cm) an undergarment, probably the robe, shows below the
Egyptian, probably second half of the 4th century B.C. wraparound. A notched shawl covers the torso. Incised
Gift of Norbert Schimmel Trust, i989
lines along the upper back edge most likely indicate nat-
I989.281.97
Ex coll.: Norbert Schimmel
ural folds of the shawl. The diagonal lines across the
Bernard V Bothmer, Egyptian Sculpture and Painting in the chest may show the shawl passing repeatedly around
Late Period, New York, The Brooklyn Museum, 1960, no. 86, the body, or might represent one end of the wraparound
pp. Io8-9, figs. 212-13; Beauty I964, no. o100; Ancient Art draped over the shoulder.
I974, addendum no. 237 bis; Troja bis Amarna 1978, no. 283; Shawls are documented from prehistoric times. Early
Robert S. Bianchi, "The Striding Draped Male Figure of representations suggest that they were of narrow lengths,
Ptolemaic Egypt," Das ptolemiische Agypten: Akten des with a warp fringe at the ends. By contrast, notched
internationalen Symposions, 27-29 Sept. 1976 in Berlin, Mainz, shawls have a border along what appears to be a selvage
I978, p. ioo, fig. 69; Bianchi, "Not the Isis Knot," Bulletin of edge of the cloth. On this example the notching seems
the Egyptological Seminar, 2 (1980), n. 21
to be a separately applied decorative border rather than
This enigmatic piece has not yet been fully explained. a fringe. The notches are evenly spaced, with a narrow
hem at the bottom of each segment. A line just above
It was certainly an actual sculptor's model: it lacks a
the notches may indicate a seam attaching the border
back pillar, no head or feet were intended, and the right
to the shawl.
arm was treated in a rudimentary fashion. In two-
dimensional representations of similarly attired men, The model is attributed to Dynasty 30 on the basis of
the shawl's notched decoration, the earliest dated ex-
the left forearm is usually raised, the hand clasping the
ample of which belongs to the reign of Nectanebo iin.
shawl. This pose is implied here, too, although the hand
was uncarved, apparently considered superfluous. The However, variations of all the garments are found at least
by Dynasty 26, so an earlier date is possible. On the
artist's interest was obviously in the garments rather
other hand, the lack of body definition beneath bulky
than in the body beneath.
In spite of some attention to detail, identifying the layers of clothing is reminiscent of relief figures in the
tomb of Petosiris, dated to the early Ptolemaic Period.
clothing is difficult. The innermost garment is a round-
necked shirt, worn under a robe with a V neck both front CHR

36

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 EGYPTIAN

36. DETAIL OF AN OFFERING I964, no. IO9; Amarna I967,

SCENE no. 5; Ancient Art I974, no.
Painted limestone. Height 246; Troja bisAmarna I978,
85/8 in. (22 cm). Egyptian, Dy- no. 29I; Peter F. Dorman, in
33. THE KING'S HAND I964, no. 104; Amarna I967, nasty i8, late in the reign of Recent Acquisitions: A Selec-
Painted limestone. Height 9'/4 no. 2; Ancient Art I974, Akhenaten, ca. I345-I335 B.C. tion, 1985-I986, New York,
in. (23.5 cm). Egyptian, Dy- no. 24I; Troja bis Amarna Gift of Norbert Schimmel, The Metropolitan Museum of
nasty i8, late in the reign of I978, no. 286; Peter E Dorman, 1985 (I985.328.5). Ex coll.: Art, I986, pp. 6-7
Akhenaten, ca. 1345-1335 B.C. in Recent Acquisitions: Norbert Schimmel. Beauty
Gift of Norbert Schimmel, A Selection, I985-I986,
I985 (1985.328.1). Ex coll.: New York, The Metropolitan
Norbert Schimmel. Beauty Museum of Art, I986, pp. 6-7

37. PURIFICATION OF A ROYAL I985 (I985.328.8). Ex coll.:

WOMAN Norbert Schimmel. Beauty
Painted limestone. Height 9 I964, no. 112; Amarna I967,
in. (22.8 cm). Egyptian, Dy- no. 4; Ancient Art I974,
nasty i8, late in the reign of no. 249; Troja bis Amarna
34. THE KING MAKING AN I985 (I985.328.3). Ex coll.: Akhenaten, ca. I345-1335 B.C.I978, no. 294
OFFERING Norbert Schimmel. Beauty Gift of Norbert Schimmel,
Painted limestone. Height I964, no. 106; Amarna I967,
8I/4 in. (2I cm). Egyptian, Dy- no. 6; Ancient Art I974,
nasty i8, late in the reign of no. 243; Troja bis Amarna
Akhenaten, ca. I345-I335 B.C. I978, no. 287
Gift of Norbert Schimmel,

38. PART OF A PROCESSION I985 (1985.328.9). Ex coll.:

Painted limestone. Height Norbert Schimmel. Beauty
9 in. (22.8 cm). Egyptian, Dy- I964, no. II3; Amarna I967,
nasty i8, late in the reign of no. 23; Ancient Art I974,
35. DECORATED KIOSK COLUMN Schimmel, I985 (1985.328.4). Akhenaten, ca. I345-I335 B.C. no. 250; Troja bis Amarna
Painted limestone. Height Ex coll.: Norbert Schimmel. Gift of Norbert Schimmel, I978, no. 295
9 I/4 in. (23.5 cm). Egyptian, Beauty I964, no. 108; Amarna
Dynasty I8, late in the reign I967, no. 9; Ancient Art I974,
of Akhenaten, ca. I345- no. 245; Troja bis Amarna
1335 B. c. Gift of Norbert I978, no. 290

57

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 42. CHARIOTS IN A ROYAL Gift of Norbert Schimmel, 1985
PROCESSION (1985.328.I6). Ex coll.: Norbert
Painted limestone. Height 91/4 Schimmel. Beauty I964, no. 120;
39. FEMALE DANCERS WITH I985 (1985.328.II). Ex coll.: in. (23.5 cm). Egyptian, Dynasty Amarna 1967, no. 13; Ancient
INSTRUMENTS Norbert Schimmel. Beauty i8, late in the reign of Art 1974, no. 257; Troja bis
Painted limestone. Height I964, no. 115; Amarna I967, Akhenaten, ca. 1345-1335 B.C. Amarna 1978, no. 302
91/2 in. (24 cm). Egyptian, Dy-no. i5; Ancient Art 1974,
nasty i8, late in the reign of no. 252; Troja bis Amarna
Akhenaten, ca. I345-1335 B.C.
1978, no. 297
Gift of Norbert Schimmel,

43. FRAGMENT OF A SCENE WITH Norbert Schimmel, 1985

RUNNING HORSES (1985.328.17). Ex coll.: Norbert
Painted limestone. Height 9 in. Schimmel. Beauty 1964, no. 121;
40. COURT LADIES AT A 1985 (1985.328.14). Ex coll.:
CEREMONY Norbert Schimmel. Beauty (23 cm). Egyptian, Dynasty i8, Amarna 1967, no. 19; Ancient
late in the reign of Akhenaten, Art 1974, no. 258; Troja bis
Painted limestone. Height 1964, no. 118; Amarna 1967,
ca. I345-1335 B.C. Gift of Amarna 1978, no. 303
8/2 in. (21.5 cm). Egyptian, no. 10; Ancient Art 1974,
Dynasty i8, late in the reign of
no. 255; Troja bis Amarna
Akhenaten, ca. 1345-I33 5 B.C.1978, no. 300
Gift of Norbert Schimmel,

44. Two SOLDIERS (1985.328.19). Ex coll.: Norbert

Painted limestone. Height Schimmel. Beauty 1964, no. 123;
8 /2in. (21.5 cm). Egyptian, Amarna I967, no. i6; Ancient
41. SCENE WITH A ROYAL BOAT 1985 (I985.328.I5). Ex coll.: Dynasty i8, late in the reign of Art 1974, no. 260; Troja bis
Painted limestone. Height Norbert Schimmel. Beauty Akhenaten, ca. I345-I335 B.C. Amarna 1978, no. 305
9 in. (22.8 cm). Egyptian, Dy- 1964, no. II9; Amarna I967, Gift of Norbert Schimmel, I985
nasty i8, late in the reign of no. 21; Ancient Art I974,
Akhenaten, ca. I345-I335 B.C. no. 256; Troja bis Amarna
Gift of Norbert Schimmel, 1978, no. 30I

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms
 45. FRAGMENT OF A CHARIOT
SCENE

Painted limestone. Height

85/8 in. (22 cm). Egyptian, Dy-
nasty i8, late in the reign of
Akhenaten, ca. I345-I33 5 B.C.
Gift of Norbert Schimmel, i985
(I985.328.20). Ex coll.: Norbert
Schimmel. Ancient Art I974,
no. 26I; Troja bis Amarna I978,
no. 306; Catherine Rommelaere, 48. FALCON-HEADED CROCODILE Ptolemaic, 305-247 B.C. Gift
Les chevaux du Nouvel Empire AMULET AND CROCODILE of Norbert Schimmel Trust,
egyptien, Brussels, I991, fig. 8o AMULET I989 (1989.281.95,96). Ex coll.:
Faience. Falcon-headed amulet: Norbert Schimmel. Ancient Art
length i3/4 in. (4.5 cm). Croco- I974, nos. 227, 228; Troja bis
dile amulet: length Ix/ in. Amarna 1978, nos. 269, 270
(3.8 cm). Egyptian, early

I R

46. FISHING SCENE (1985.328.22). Ex coll.: Norbert I r

Painted limestone. Height Schimmel. Beauty I964, no. 126;

85/8 in. (22 cm). Egyptian, Dy- Amarna I967, front cover; An-
nasty i8, late in the reign of cient Art I974, no. 263; Troja
Akhenaten, ca. 1345-1335 B.C. bis Amarna I978, no. 308
Gift of Norbert Schimmel, i985

47. TOMB PAINTING OF A

STANDING WOMAN

Painted mud plaster. Height

357/8 in. (9I cm). Egyptian, Dy-49. FRAGMENTS OF TWO BOWLS Schimmel Trust, I989
nasty I8, ca. 1500 B.C. Gift of Bronze. Above: reconstructed (1989.28I.Ioo,99). Ex coll.:
Norbert Schimmel, I987 diameter 8'/4 in. (2I cm). Below: Norbert Schimmel. Troja bis
(1987.72) reconstructed diameter 5 S8 in. Amarna 1978, nos. 249, 250
(14.2 cm). Gift of Norbert

50. STATUETTE OF WEPWAWET

Bronze with gold inlay. Height
(including tenons on bottoms
of paws) 8 in. (20.3 cm); length
8 in. (20.3 cm). Egyptian, ist
millennium B.C. Gift of
Norbert Schimmel Trust, I989
(1989.28i.103). Ex coll.: Norbert
Schimmel

59

This content downloaded from 92.96.86.162 on Sun, 17 Dec 2017 11:08:34 UTC
All use subject to http://about.jstor.org/terms