Konstantin Ivanov

Egyptology MA
University of Copenhagen

Pr-Dw3t – The House of Morning Adoration

I dedicate my first publication to my mother
Iglika Ivanova(A.W.S.) - True Manifestation of
Hathor and Isis

1.Background
Term pr-dw3t has been discussed by Blackman in his article “House of Morning”1. As the
title would suggest, the author builds up a case that favors the translation of the term “dw3t” as
“morning” instead of “adoration” (or “praise”)2. In the very beginning Blackman starts by
mentioning the preserved examples of the shrine at Edfu and Philae3, but then continues to discuss
the history of the term and its relation to secular purification4 and mortuary purification5.
Blackman’s work is useful for understanding the historical background of the term pr-dw3t, and its
links to the different aspects of purification – the article presents a cornerstone in Egyptology6 and
a basis for the discussion that I am about to present. Nevertheless, it becomes evident that
throughout the known history of Ancient Egypt the name pr-dw3t has evolved as to signify
compartments of different edifices with slightly different function, ultimately related to purity but
not always directly related to the specific ritual proceedings in the temple complex. If one is to

1
Blackman – The House of Morning – JEA 5 (1918) – pp.148-165
2
Blackman – The House of Morning – JEA 5 (1918) – pp.152-153; The predating work of H.Kees shows examples of
scholars translating pr-dw3t as “chambre d’adoration” and “Haus der Verehrung”– Kees – Pr-dw3t und pr-db3t in
Receuil de travaux relatifs a la philology et l’archeologie Egyptienes et Assyriens 36(1914) – p.2,3
3
Blackman – The House of Morning – JEA 5 (1918) – p.148
4
Blackman – The House of Morning – JEA 5 (1918) – pp.148-152, p.155
5
Blackman – The House of Morning – JEA 5 (1918) – p.165
6
“The House of Morning” is almost a century old publication from the time that I am writing this article. Yet, Blackmans
conclusions still resonate in the way that Egyptology scholars refer to the pr-dw3t. M. Alliot refers to the shrine as “la
maison du matin” – M.Alliot – Le Culte d’Horus a Edfou (Cairo,1950) – p.132. Francois Labrique has done the same
when translating the inscriptions that accompany the purification scene on the exterior of Edfu’s surrounding wall –
Labrique – Stylistique et Theologie a Edfou – OLA 51 (1992) – p.172-173,pl.12; Penelope Wilson translates pr-dw3t as
“House of Morning” and even directly references Blackman’s article in question - P. Wilson – A Ptolemaic Lexicon, OLA
78(1997)- p.355; Prof. J.Quack refers to the pr-dw3t as “house of morning” when reporting information related to the
Book of the Temple and the procedures of purity related to temple access – Quack – Conceptions of Purity in Egyptian
Religion in “Purity and Forming the Religious Traditions in the Ancient Mediterranean world and Ancient Judaism”
(Leiden-Boston,2013)– p. 119; Dieter Arnold has circumvented this by simply referring to the shrine as pr-dw3t – Arnold
- Wandrelief und Raumfunktion in ägyptischen Tempeln des Neuen Reiches, MÄS 2 – p. 71-72
discuss the significance of the term and mentions the most prominent preserved examples, it is
only fair and scientifically demanded that more focus is redirected towards these examples.
I suggest that contemporary and predating examples of the pharaonic purification scenes
should be taken into account. The typical “baptism”7 scenes (Fig.1) found on temple walls8 are
slightly different from those found in the pr-dw3t shrines of Edfu(Fig.2)9 and Philae(Fig.3)10. The
wall scenes typically display two actors, rarely a sole purifying deity11. In contrast to that, both pr-
dw3t shrines in question only display one deity at a time interacting with the pharaoh. In the case of
Edfu the monarch is seated. Nevertheless the shrine scenes and those found throughout the rest of
the temples are unmistakably related. Both pr-dw3t and temple scenes address the pharaonic
purification – a god is acting and the pharaoh-figure is on the receiving end of the rite12. The pr-
dw3t in both preserved cases13 is symmetrically juxtaposed with wall “baptism” scenes14. In certain
cases the “Baptism of the Pharaoh” in wall registers is depicted as taking place within the confines
of a shrine15 and at least one scene holds inscriptions which specify the purification as being carried
out in the pr-dw3t16.

7
Gardiner – “Baptism of the Pharaoh” JEA 36 (1950)– pp.3-12
8
For the purpose of this study I am focusing on purification scenes found in the wall registers - labelled (BAP 1) by Eleni
Vassilika in her study of the Ptolemaic structures on the island of Philae. In general, doorway scenes (Vassilika’s label
(BAP 2)) do not display significant variations from the posture and gesture of Thoth and Horus in the (BAP 1) scenes; the
vessel in doorway scenes is always a hes. Exceptional cases of (BAP 2) scenes from the Greco-Roman period will be
mentioned in the discussion below – the scenes from the Ptolemaic temple of Deir el Medina and the scenes from Deir
el Hagar in Dakhla Oasis. For the labeling - Vassilika – Ptolemaic Philae p.4, p.24,p.353; Examples doorway scenes -
Chassinat - Edfou IX pl. LVII; Blackman - The Temple of Bigeh, pl. XIX, XXXVI, XXXVII,XXXIX; Roeder - Debod bis Kalabsche
vol.2 taf.12,taf.13
9
Chassinat – Edfou 3.2 – pl.LXXXI;
10
Kockelman, H. and Winter, E. – Philae III, Die zweite Ostkolonade des Tempels der Isis in Philae (CO II und CO II K)
(Wien, 2016), vol. 2 – pl.52a,52b
11
One such example - Khnum, holding a double-spouted hes - Great Hypostyle Hall at Karnak. – Chicago OIP 106 –
pl.51,pl.259
12
The presence of a recipient figure is also what sets apart the scenes from the pr-dw3t at Philae from other doorway
scenes.
13
Edfu – PM VI : Chief Temples of Upper Egypt – p.135 note 98 ; Philae – Ibid. – p.221 note 138
14
Edfu – PM VI : Chief Temples of Upper Egypt – p.132 note 85-86, p.131 for the plan; Philae- ibid.- p.229 – notes 228-
234, p.202 and 212 for general and detailed plans
15
At Edfu : Labrique - Stylistique et Theologie a Edfou - OLA 51 - pl.12; Chassinat - Edfou X .2, pl.CXIII and pl. CXVII;
Chassinat - Edfou IX pl. LIX; Chassinat - Edfou X .1, pl. XC-XCI and pl. LXXXIV-LXXXV;At Dendera : Elgawady – Schranken
(2016) – p.496, Cauville - Dendera XII, vol. II pl.27and pl.58; pl.105 and pl.130. The mammisi purification scene across
from the pr-dw3t at Philae is also depicted with the shrine feature - Junker,Winter - Das Geburtshaus des Tempels der
Isis in Phila - 1965 - p.230, pl.439
16
Labrique - Stylistique et Theologie a Edfou - OLA 51 – p.172; The relations between pr-dw3t and the wall register
purification scenes have been pointed out as early as the works of Auguste Mariette – Mariette – Denderah vol.1, p.125
2.Discussion
I am inclined to agree with some of Blackman’s points, one of which is that the rites of
purification (and the pr-dw3t by extension) were related to the entrance of the pharaoh in the
temple at the start of the day1718, which ideally would occur simultaneously with- and reenacting
the rising of the sun-god19. In fact, I would like to point out something that might be complimentary
to his idea. In most cases it is Thoth and Horus purifying the pharaoh20. In all but one21of the
Ptolemaic cases and in most of the earlier examples, Thoth (lunar, therefore nightly god in
character) stands “behind” the pharaoh; Horus (solar, daily deity) is in front of the ruler, according
to the orientation and flow of motion of the pharaonic figure. The avian nature of both deities is
obvious therefore it is easy to associate them with the night sky and day sky. Francois Labrique has
pointed to an example of pharaonic purification from Edfu, in which the texts associate Thoth and
Horus with Geb and Ra respectively22. The pharaoh’s orientation and motion, would therefore
suggest the transition from night to day, and a symbolic upward motion from the terrestrial
towards the celestial. This puts an accent on the “morning” aspects of the ritual. Having said this, it
should be clear that I am not setting out to reject Blackman’s “morning” reading but I would, on the
other hand, like to propose that his understanding should not be exclusive. The following
paragraphs will bring attention to some facts that favor the idea of “adoration” as a completely
valid and even vital connotation within the term pr-dw3t.

17
Blackman – The House of Morning – JEA 5 (1918) - p.153
18
Gardiner has argued against Blackman that purification scenes are related to coronation, not the act of entering the
temple – Baptism of the Pharaoh - JEA 36 p.6; Considering Greco-Roman register examples there are no grounds for
conflict – purification and coronation are often depicted together; in many cases purification and coronation scenes are
located near entrances – evident at Edfu (PM VI - p.125-notes 35-38; p.126- notes 43-46), at Kom Ombo(PM VI –
p.182- notes 25,27; p.184 – notes 45,46), at Dendera (PM VI – p.46 – notes 17-19; p.47 –notes 23-25), at Esna (PM VI –
p.111 – notes 1-4 and 5-8);Considering the pr-dw3t in particular, according to the Book of the Temple “The ‘house of
morning’ in order to perform the purification of the pharaoh in [it] when he enters in the temple” is located in one of
the courtyards preceding the hypostyle hall. – Quack – Conceptions of Purity in Egyptian Religion in “Purity and Forming
the Religious Traditions” (Leiden-Boston,2013)– p. 119
19
Blackman – The House of Morning – JEA 5 (1918) – pp.153-154
20
Blackman – Some Notes on the Ancient Egyptian Practice of Washing the Dead – JEA 5 (1918) – p.117; Nevertheless
the temple of Amun at Hibis presents a scene in which involves Wepwawet as one of the actors. – Cruz-Uribe – The
Hibis Temple Project vol.1 (1988) – p.54, pl.10A
21
The exception is at the temple of Dakka where the inversion is most likely related to Thoth being a principal deity of
the shrine. Roeder, Ruppel – Tempel von Dakke, vol.II-III - pl.80
22
Labrique – Stylistique et Theologie a Edfou – OLA 51 (1992) – p.173
 Blackman discusses the spelling and grammar of the known examples of the term 23. What
he has pointed out is that in most cases the translation “morning” is favorable, one of the reasons
being that the term, with the determinative for “praise”24, is not part of the usual spelling. The fact
of the matter is that in the temple of Edfu the term pr-dw3t occurs several times but none of them
feature the determinative in question25. However that does not explain the case where the
hieroglyph for “praise” does occur as part of the pr-dw3t configuration – that is something that
Blackman has left that unaddressed26. Furthermore, Blackman himself has stated that there is an
interrelation and wordplay based on the similarities between the term “dw3” meaning morning and
the term “dw3” meaning praise27.

Free hand gesture

In the Greco-Roman period, examples of wall scenes outside the pr-dw3t, regardless of
chronological, geographical or religious differences, depict the acting deities with one hand holding
the vessel from which water is issued. The other hand is empty. The empty hand raised is near
(usually behind) the vessel28. In this way, aside from the occupied hand, the entire body posture of
the deities mimics the hieroglyph for adoration2930.
There seem to be very few exceptions to this. The Ptolemaic temple at Deir el Medina
displays Horus and Thoth on each doorjamb31 – their hands are extended underneath the vessel in

23
Blackman – House of Morning JEA 5(1918) - p.152
24
Gardiner – Grammar – signlist A30, p. 445 Note that the same sign is a determinative to the words which sir Gardiner
translates as “praise” (i3w) and “adore” (dw3)
25
P. Wilson – A Ptolemaic Lexicon, OLA 78(1997) - p.355
26
Blackman – House of Morning JEA 5(1918) - p.153
27
Blackman – House of Morning JEA 5(1918) - p.154
28
Benedite – Philae – pl. XXVII,Chassinat – Edfou X.1 – pl. LXXXIV, Edfu X.2 – pl. CXIII, CXVII, CLI,De Morgan – Kom Ombo
– pl.179, 191, 464; Elgawady – Die Schranken in den Agyptischen Tempeln (2016) – p.498; Junker,Winter - Das
Geburtshaus des Tempels der Isis in Phila - 1965 - p.230, pl.439; Sauneron – Esna – p.145;
29
See above, note 24
30
My observations on the matter for predating periods of the empty hand: the case is similar. The usual manner of
depiction has the gods with a hand raised in adoration. That is true for examples from a wide geographical and
chronological range – at least as early as the reign of Hatshepsut - Une Chappele d’Hashepsout a Karnak(IFAO 1979)–
pl.14; In the Great Hypostyle Hall at Karnak - Chicago OIP 106 – pl.105, 148, 198; At Medinet Habu –Chichago OIP 83 –
pl.296, 309; The gesture is expressed in scenes as remote as the temples of Amada and Derr in Nubia – Gauthier-
Amada - pl.XXIII, XXIV; Blackman – The Temple of Derr pl.XLIII; Late Period examples feature Karnak-Nord – pl. LXI,
LXVI, LXVIII, LXXVII, examples from the temple of Amun at Hibis - The Temple of Hibis in El Khārgeh oasis : Part III –
pl.12; also the kiosk of Nectanebo at Philae – Elgawady – Schranken (2016) – p.514,pl.39.
31
Du Bourguet – Le Temple de Deir al-Medina(IFAO, 2008) – p. 128, fig.137,141
a gesture of offering32. The case is similar at the temple of Hathor in Dendera. Inside the hypostyle33
and on the exterior of the naos34, it is possible to observe pharaonic purification scenes in which the
deities are gesturing in offering with their empty hand. Nevertheless one of these scenes presents
an important detail (Fig.4). In the very beginning of the each stream issued forth from the vessels a
small depiction of a hand is fitted. Each of these small hands matches perfectly with the way that
hands are positioned in the “dw3” gesture in hieroglyphic writing and larger images 35. The notion of
“praise” in relation to purification seems to have been an important aspect for the Denderan
designers and thus was not completely omitted.

Occupied hand gesture

Further observations concern the occupied hands with which the deities are holding the
vessels to spill water. Despite the apparent simplicity of the (BAP) scene there is room for variations
available – which hand the gods employ and which hand is idle; variations of the grip on the vessel;
variations in which way the wrist is turning (although invariably the arm is bent at the elbow and
pointing upwards). It is a common observation that in some cases the hand that holds the vase is
not anatomically correct and there are variations to that as well. Cases of variation and seemingly
unnatural depictions of the divine appendages are chronologically concentrated in the periods
predating the Ptolemaic dynasty.
Examples from Medinet Habu36 and the Khonsu temple37 at Karnak depict the hands with
correct anatomy but twisted in a rather unnatural and uncomfortable way, fingers facing away from
the viewer, and in fact, away from the recipient of the rite. The thumbs of the gods are depicted
closer to the top of the hes38. The temple of Derr presents an extreme example of this hand
position – Horus’ limb seems as if it is broken at the wrist39.

32
Compare Fig. 4 with SMN 1-4 and HED 1 from Vassilika – Ptolemaic Philae, OLA 34 - p. 370; VESF 1 and VESF 2 from
Vassilika – The Pronaos Decoration of the Temple of Horus at Edfu in OLA 85 - p. 956
33
Elgawady – Schranken (2016) - p.493,496
34
Cauville – Dendera XII, vol.II - pl. 27,58 and pl.105,130
35
Benedite – Philae – pl. XXXI; Chassinat – Edfou vol.3.2 – pl.LXIX-LXXIV; Gutbub – Kom Ombo I (1995) – p.334, pl.245;
p.385, pl.284
36
OIP 83 - Medinet Habu V pl. 296,309; Note that the hand of Horus in plate 309 is not anatomically correct.
37
OIP 103 – Temple of Khonsu - vol.1, pl.33; vol.2, pl.176
38
Such is also the case in Late Period examples from the structures of Taharqa at Karnak – Karnak-Nord IV –
pl.LXVI,LXVIII
39
Blackman – The Temple of Derr pl. XLIV,XLIII
 In one of the examples from Abydos (Fig.5) the hand of Horus (in this case behind the
pharaoh), raised as usual, is depicted with fingers on the inside – visible to the viewer40. His thumb
however is placed towards the top of the jar, which suggests that the hand is twisted at the wrist
and the fingers should be facing away and thus should not be visible to the viewer. The result is an
obstruction to the anatomy of the hand of the divinity41.
These examples portray attempts at a combined illustration of the grip on the vessel, as it
would be held in actuality during performance, and the “dw3” gesture. The former dictates that the
thumb should be closer to the top, hand pointing slightly away when raised in order to spill the
liquid. The latter involves the palm of the hands facing towards the recipient and is better
pronounced when the hand is not twisted and pointing away.
There is yet another manner of depicting the vessel in the hands of the gods– the designers
eliminated the anatomical irregularities and the unnatural twist of the wrist, while simultaneously
accommodating the “dw3” gesture. This was achieved in a somewhat simple way – by reversing the
position of the vessel within the grip. In some Greco-Roman examples42 the hand is correct, the
fingers are pointing inwards, the thumb is near the bottom of the vase. This, however, suggests that
the vase was initially picked up and held in a really awkward manner by the actor. Ultimately this is
a detachment from the practical enactment for the sake of proper divine anatomy, and for the
purpose of asserting the oneness of praise and purification.
Apart from all of this stand out the examples found in the hypostyle hall of the temple at
Philae43, the example from the pronaos of the temple Dendera 44, and the examples of the libation
episodes from the pr-dw3t shrines of Edfu and Philae. To this list we can add a doorway example
from Deir el Hagar45. In the first example the deities are gesturing with the inner hand (as opposed
to the more common gesture with the outer hand); the vase is spouted and is held somewhat
upright. This bears striking resemblance with a scene from the exterior of the same temple 46. The

40
Jequier – Les Temples Ramessides et Saites (1922) – pl.24;
41
The case is similar with the hand of Thoth in the example of Philip Arrhideus at Karnak – Gardiner – “Baptism” JEA 36
– pl.II
42
De Morgan – Kom Ombo – p.139,pl.179;p.149, pl.191; p.341,pl.464; Gauthier - Kalabchah, vol.II plate, pl.LXV;
Junker,Winter - Das Geburtshaus des Tempels der Isis in Phila - 1965 - p.230, pl.439.
43
Benedite – Le Temple de Philae 1893 – pl. II
44
Elgawady – Schranken (2016) – p.496; Mariette – Dendera vol.2 pl.10
45
Kaper - Doorway Decoration Patterns in the Dakhleh Oasis, in: D. Kurth (ed.), 3. Ägyptologische Tempeltagung
Hamburg, 1. 5. Juni 1994: Systeme und Programme der Ägyptischen Tempeldekoration, p.114, fig.4
46
First scene lower register in Benedite – Philae pl.XXVIII;
scene in question has the pharaoh spilling water from two hes-vessels with spouts which are held
upright. The water streams fall upon an offering table with no objects placed on it – the vases and
the libation itself are the offering. Therefore it is tempting and quite logical to suggest that the
variation of the vessel and posture in the hypostyle hall BAP image can be explained away with the
desire of the decorators to additionally express offering. The second case is the hypostyle hall
image from Dendera, mentioned above, Thoth and Horus’ fingers are facing the viewer, but Thoth
has his thumb placed anatomically incorrect. It is possible to observe that distortions of the
Ptolemaic grip occur in attempts to incorporate the idea of “offering” into the representation of the
rites.
The roman dated temple of Deir el Hagar yields yet another development, which might
indicate that, although widely employed, the designers were not completely settled with Ptolemaic
grip solution. On either side of the doorway are the images of Thoth and Horus in the act of
purification. The gods are supporting the hes from underneath with one finger extended forward,
along the length (or height) of the vase, instead of a tight grip as depicted in earlier examples. This
might be an echo of the gestures evident at Dendera. Ultimately the example from Deir el Hagar
presents a solution to the incorporation of both offering and adoration within the act of
purification, while avoiding anatomical irregularities and maintaining a level of realism.

Vessel
The most commonly employed hes-vessel (hs or hs.t47) is related to the verb hsj, meaning
“praise”48. This suggests that regardless of the variations in the grip on the vessel, regardless of the
nuances that the grip portrays, the aspect of “praise” is always represented and quite easily
recognizable through the image of the vessel. That is with the exception of the images originating
from the two preserved pr-dw3t structures.

Images from the pr-dw3t shrines

As I have mentioned above, the images in the shrine in Edfu do not demonstrate the typical
grip and depict the employment of another type of vessel49 (Fig.2). At Philae the typical vessel is

47
Gardiner – Grammar – W14, p.529, Smith – “Kingship, Water and Ritual : the Ablution Rite in the Coronation Ritual of
the Pharaoh” in L’acqua nell’antico Egitto: vita, regenerazione, incantesimo, medicamento(2005) - p.331
48
P.Wilson – Ptolemaic Lexicon, OLA 78 – p.675
49
The texts specify a nmst vessel for Horus and a dsrt for Thoth but if Chassinat’s plate is a correct reflection both
deities employ the same vessel, one that bears close resemblance to the dSrt. Chassinat – Edfou – vol.3 p.336,338, pl.
LXXXI; H.Kees – Pr-dw3t und pr-db3t – p.7; Wilson – Ptolemaic Lexicon, OLA 78 – p.519 for nsmt, p. 1210 for dSrt
also alternated - on doorway of the pr-dw3t the deities are employing a stout pot(Fig.3)50 . In both
cases the deities are not actually touching the liquid containers. The arms of Thoth and Horus are
pointing forwards, bent at the elbows and pointing upwards. The hands are free and open towards
the pharaoh51. In that way the gesture that conveys adoration and praise is heavily accented. There
is only one obstruction to the perfect mimicry - one hand is slightly turned in order to express
possession and control over the vessel. In this way the designers have expressed and underlined the
divine source of the benevolent purifying streams – this connection is only necessary if the
purification of the pharaoh is to be effective.
Additionally there is another important detail featured in the coronation scene found on the
east wall of Edfu’s pr-dw3t interior. A personification of Heka is seen performing the adoration with
absolutely no obstructions or alterations to the gesture52. Witnesses in Ptolemaic coronation scenes
are not anomalous, but they, unlike Heka in this case, they are passive53.

Summary
In short, it is possible to observe that the dw3 gesture was always expressed by the empty
hand with minor exceptions; in at least one these few exceptional cases the “adoration” gesture is
still accommodated within the scene – it represents an inseparable part of purification. The
occupied hand has a lot of variations and even alterations to anatomy in attempts to express the
dw3 gesture and simultaneously conform to the practical enactment of the libation episode. In both
hands the gestures give way to positions that suggest the notion of offering, but only in few
exceptional cases, sporadically appearing throughout history – the incorporation of offering is not
the norm and can hardly be called a trend. The commonly employed hes-vessel also relates

50
Berlin Photo #855, #856; Kockerman , Winter - Philae III,vol.2 , pl.52A,B, Texts relating to Thoth specify a snbt vessel
51
This particular posture (with only implied contact with the vessel) and the employment of a stout vessel can be
observed in a scene which depicts Ramesses II purifying an image of Seti I in the Great Hypostyle hall in Karnak. Within
the sequence of images on that register the purification of Seti I is preceded by the purification of Ramesses II by
Khnum. The deity holds the hes in a manner similar to typical purification scenes – gripping tightly, wrist pointing away.
This would suggest that the variations of the posture and grip, as well as the vessels, are deliberately introduced by the
designers for the purpose of signaling different ideas, not as a result of stylistic evolution. Chicago OIP 106 pl. 48;
pl.51;pl.259 Similar scenes of purification are found in the temple of Ptah at Karnak - Christophe Thiers, Sebastien
Biston-Moulin - Le Temple de Ptah a Karnak(IFAO,2016) – p.240;258; The scene involving Wepwawet from the temple
of Hibis displays detachment from the vessel and a gesture strongly reminiscent of the praising posture. – Cruz-Uribe –
Hibis Temple Project vol.1 (1988) – pl.10a
52
Chassinat, Edfou vol.III.2, pl.LXXXI
53
Benedite - Le Temple de Philae 1893 - pl.XXXIV ,pl.XXVII; De Morgan – Kom Ombo – pl.463, pl.208. In some cases the
additional witness is “semi-passive” - one hand is raised in salutation; nevertheless the dw3 posture such as that of
Heka seems to be unique to the pr-dw3t at Edfu. – De Morgan – Kom Ombo – pl.214 ; Sauneron – Esna – p.184
purification and adoration. At the two examples of the pr-dw3t shrine preserved at Edfu and Philae,
the dw3 gesture is even further accented by the complete detachment of the hand from the vessel
– the notion of adoration is given priority over attempts at reflecting actuality. In the pr-dw3t of
Edfu that is even further accented by the posture of Heka.

Pr-dw3t conclusions
Based on the evidence discussed above, I propose that the understanding of pr-dw3t as
“House of Morning” should not be favoured instead of the reading “House of Adoration”. The two
terms should not be understood as mutually exclusive. Rather, they should be considered side by
side, as homogenous, complimentary aspects of the term pr-dw3t, in reference to the shrines at
Edfu and Philae. The case of Blackman is built up on the relation of the shrine to the purification
rituals; on the other hand the idea of “praise” and “adoration” are represented as an integral,
omnipresent part of the performance of the cleansing rites. Therefore an amendment must be
introduced to Blackman’s suggestion. The name of the pr-dw3t shrine should be translated as
“House of Morning Adoration”.

01.08.2017 Copenhagen54

54
Special thanks to dr.Rachael J. Dann, Martin Thygesen Jensen, Dora Petrova, as well as dr.Emil Buzov for the
opportunity and the patience.
Fig.1
Fig.2
Fig.3
Fig.4
Fig.5

LIST OF PLATES
Fig. 1 after Gardiner – Baptism of the Pharaoh, JEA vol.36 pl.I
Fig. 2 after Chassinat – Edfou, vol.III.2 pl.LXXXI
Fig. 3 after Kockelman, H. and Winter, E. – Philae III, Die zweite Ostkolonade des Tempels der Isis in
Philae, vol.2 pl.52a-b
Fig. 4 after Cauville – Dendera XII (IFAO 2007) vol.2 – pl. 130
Fig.5 after Jequier - Les Temples Ramessides et Saites (1922) – pl.24

Bibliography
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(1918) pp.117-124
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