Ancient Egyptian Figured Ostraca: in the Petrie Collection (Oxbow Classics in Egyptology) 9798888570241, 9798888570258

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ANCIENT EGYPTIAN FIGURED OSTRACA IN THE PETRIE COLLECTION

Oxford & Philadelphia

This edition published in the United Kingdom in 2023 by OXBOW BOOKS The Old Music Hall, 106–108 Cowley Road, Oxford, OX4 1JE and in the United States by OXBOW BOOKS 1950 Lawrence Road, Havertown, PA 19083 © Oxbow Books 2023 Paperback Edition: ISBN 979-8-88857-024-1 Digital Edition: ISBN 979-8-88857-025-8 (epub) First published in 1983 by Aris & Phillips Ltd Oxbow Books is grateful to the Petrie Museum for their collaboration in bringing out these new editions All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the publisher in writing. Printed in the United Kingdom by CMP Digital Print Solutions For a complete list of Oxbow titles, please contact: United Kingdom Oxbow Books Telephone (0)1226 734350 Email: [email protected] www.oxbowbooks.com United States of America Oxbow Books Telephone (610) 853-9131, Fax (610) 853-9146 Email: [email protected] www.casemateacademic.com/oxbow Oxbow Books is part of the Casemate Group Front cover: Pottery sherd with a painted scene of a monkey scratching the nose of a human figure. From the Ramesseum, Thebes, Egypt, Ramesside Period (c. 1295–1069 BC). Petrie Museum UC15946. Image © Mary Hinkley, UCL Educational Media.

CONTENTS

Acknowledgements Abbreviations Introduction

vi vii viii

CATALOGUE Deities (Nos. 1-20) Royal figures (Nos. 21-29) Men (Nos. 30-47) Women (Nos. 48-50) Mammals (Nos. 51-63) Birds (Nos. 64-73) Reptile (No. 74) Insects (Nos. 75-77) Miscellaneous (Nos. 78-82)

3 16 23 34 36 45 51 52 55

Appendix 1: Classification of the material of the pottery ostraca Appendix 2: Sketches on pottery vessels Concordance of Museum and Catalogue Numbers

59 63 67

PLATES

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vii

viii

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a working drawing, a freehand sketch, an illustration, a satire, or just a doodle. Obviously, this is very much a matter of subjective judgement, and as such may be thought by some to be out of place in a Museum catalogue. Such comments, however, even if later shown to be incorrect, are thought-provoking, and more likely to lead to discussion and interpretation of the piece than mere routine description. The 'petrie Museum collection of figured ostraca does not of course rival those of such museums as the Louvre, the British Museum, the Cairo Museum, the Berlin Museum or others. It comprises for the most part those pieces which Sir Flinders Petrie and his associates in the British School of Archaeology in Egypt found in their excavations or bought in Egypt, with that attention to the smallest objects that Petrie showed from the very start of his great career. But careful documentation and study can wrest from these apparently minor objects a most useful contribution to the history of civilization.

H. S. Smith

PREFACE TO THE 2023 EDITION In the 1970s, a much-anticipated new series of publications illustrated objects and themes related to the excavations of the archaeologist William Matthew Flinders Petrie (1853–1942) in Egypt, and aspects of the collection of University College London’s Petrie Museum of Egyptian and Sudanese Archaeology. A young couple setting up in business in the early 1970s, Aris and Phillips published these works, written by members of the UCL Egyptology Department, in their Modern Egyptology series. Building on Petrie’s own observations, the authors of these volumes aimed to complete the great task of publishing the Petrie Museum of Egyptian and Sudanese Archaeology’s vast collection, and to present some of the research that Petrie himself was not able to address in his own published works during his lifetime. As the current Curator of the Petrie Museum, it is a great privilege for me to support Oxbow Books in their mission to republish the series, which remains a key source of information for all those interested in object-based approaches to the study of the ancient world. The Petrie Museum, part of University College London (UCL), is home to one of the largest and most significant collections of Egyptian and Sudanese archaeology in the world. Free to visit, this extraordinary collection tells stories about the lives of ordinary people who lived along the Nile Valley thousands of years ago. Originally set up as a teaching collection, the Petrie Museum comprises over 80,000 objects housed together with an internationally important archaeological archive. It is a collection of world firsts and ‘oldests’: the oldest woven garment; the oldest worked iron objects; the first known depiction of loom weaving; the oldest known written document about women’s health; the earliest veterinary treatise; the oldest will on paper. The Museum has Designated Status from Arts Council England, meaning that it is considered to have outstanding resonance and national cultural significance. The collection has a substantial, visible international reputation for research, supporting hundreds of researchers every year, both remotely and in person. The Petrie Museum is named after Flinders Petrie, who was appointed in 1892 as the first Professor of Egyptian Archaeology and Philology in the UK at UCL. Over three-quarters of the material in the Museum comes from excavations directed or funded by Petrie, or from purchases he made for university teaching. In 1880 at the age of 26, Petrie travelled to Egypt to survey the Great Pyramid. For the next five decades he was at the forefront of the development of archaeology in Egypt and

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later in Palestine, and his detailed methodological approach continues to shape the discipline today. Petrie worked at more sites, with greater speed, than any modern archaeologist: seeing his life as a mission of rescue archaeology, Petrie aimed to retrieve as much information as possible from sites that were shrinking dramatically in size as Egypt modernised during the late 19th and early 20th centuries. He published a large part, but not all, of the finds from his excavations in his illustrated typological volumes, arranged according to object types and themes. Today, much of the Petrie Museum’s collection is displayed and stored in a way which reflects these publications: for example, several storage cupboards are dedicated to the material illustrated in the ‘Objects of Daily Use’ volume, and objects in the drawers are arranged according to the order of the published plates. This offers a unique opportunity for researchers to engage with Petrie’s typological and methodical approach to archaeology, as well as with the history of museum collections. The first catalogue to be published in the Modern Egyptology series was Amarna: City of Akhenaten and Nefertiti in 1972 by Julia Samson, Petrie Museum Honorary Research Assistant. As official publishers to the UCL Egyptology Department the series went on to produce facsimile reprints of eight of Flinders Petrie’s most important site reports and many of his object catalogues, originally published through the British School of Archaeology in Egypt. The substantial annual royalties from these reprints were paid into the ‘Petrie Fund’ at the time, which provided special grants to students in financial need. In many ways, the new reprints of this classic series can be seen as the latest layer in a vast ‘publication stratigraphy’ of the thousands of finds from Flinders Petrie’s excavations, which now live in museum collections around the world. On reading these volumes, I hope that readers will also be inspired to learn more about the Petrie Museum collection and its fascinating history. Dr Anna Garnett Petrie Museum of Egyptian and Sudanese Archaeology, University College London January 2023

PUBLISHER’S PREFACE Oxbow Books is pleased to present this title in our Classics in Egyptology series. This series of facsimile re-issues is comprised of two sub-series. The first consists of 16 typological catalogues produced by W.M. Flinders Petrie based on his massive collection of Egyptian artefacts. Mostly excavated by Petrie during many seasons of campaign in the last years of the 19th and early decades of the 20th century, they now reside in the Petrie Museum at University College London. Published between 1898 and 1937 and long out of print, the catalogues were re-issued in facsimile by publishers Aris and Phillips in the 1970s. These were followed in the next 15 years or so by publication of a number of newly commissioned titles, based on more recent examination of elements of the Petrie Collection by contemporary experts, under the name Modern Egyptology. A selection of these additional titles forms the second component of our own series. The archaeology of Egypt continues to fascinate. Multi-​disciplinary investigation and research continues unabated, encompassing methodologies, scientific and data processing techniques, theoretical approaches, and even whole paradigms that were unheard of in the 1970s and undreamt of when Petrie was working in Egypt. Yet all the titles included in this series continue to be invaluable sources of basic data, providing an unparalleled resource that can easily be cross-­referenced with the actual materials they describe and discuss. They remain within the Petrie Collection where they may be accessed and re-examined as new research flourishes. As historic documents, the Petrie catalogues stand as exemplars of the craft of typological classification, the backbone of modern archaeology – much of which, though refined by absolute dating and another 100 years of research, still stands the test of time. A note on presentation The facsimile titles of Petrie’s catalogues re-issued in the 1970s were produced from scans of the original publications. Scanning technology at that time was not of the standard or resolution of today. The scans are no longer available, nor has it been possible to obtain, and in doing so destroy, original copies of the Petrie catalogues. These titles have therefore, of necessity, been rescanned from the 1970s re-issues. Where necessary the pages have been digitally enhanced for clarity of reading and to ensure the good quality of the plates, though inevitably a few are not of the standard we might wish, because of the quality of the previous scan, and occasional

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blocks of text are not precisely ‘straight’ or evenly situated on the page. However, some pages in the 1970s re-issues had been inserted in the wrong order and this has been corrected. The originals were produced at a folio size. The pages have been reduced slightly to standard A4 for ease of shelving and because this has the effect of slightly improving the scanned images. In some cases, illustrations were presented to scale and the original scale is given on the plate. There were also no digital files available for titles included in the Modern Egyptology series, so these too have been scanned from printed copies.

CATALOGUE

DEITIES

1.

PTAH (DC 33195)

limestone. Height: 13.1 cm. Width: 10.1 cm. Provenance: Not known. No.4 marked in pencil on back of ostracon. New Kingdom. Figure of the god Ptah standing within a kiosk facing right. He wears a tight-fitting cap with his ear revealed, and a long false beard. His eye is drawn frontally. He is wrapped in a tight-fitting gprmen t like a mummy, which has a stand~up collar and a large tassel down his back. In his right hand he holds the rnt!-sign, and in his left the wJs-sceptre and g'd-pillar. He stands on a rectangular base with a sloping front. (Drawing in black ink).

Parallels: Vandier d'Abbadie pI. CXLVIIl, no. 2991. Comment: Ptah, who was associated with the artisans in Memphis, was also revered at Deir el-

Medina by the artists and craftsmen who worked in the royal necropolis. He was frequently represented in their tombs, and his cult was practised in a sanctuary between Deir el-Medina and the Valley of the Queens consisting of a number of grottos cut into the rock. (See Bruyere, B., Mert Seger aDeir el Medineh, Cairo, 1930, pp. 5 ff.). It is therefore quite likely that this ostracon was an ex-voto to be left at a shrine there, although a Memphite provenance is equally possible. Ptah is first pictured as holding a sceptre made of the combined wJs-, r nt!- and gd-signs in the New Kingdom. (See Holmberg, M.S., The God Ptah, Lund, 1946, pp. 13-14).

2.

PTAH (DC 33192)

limestone. Height: 11.1 em. Width: 7.8 em. Provenance: Not known. New Kingdom. Figure of the god Ptah seated and facing right. He wears a tight-fitting cap behind very large ears, and a long false beard which curls up at the end. He has an aquiline nose and his eye is drawn frontally. He wears a tight-fitting garment with a stand-up collar from which a tassel hangs. His hands, placed one above the other, hold a wJs-sceptre andgd-pillar combined, which bends away from his body over his knees. The base of the seat is depicted.

4 (Drawing in black ink with traces of a preliminary sketch in red). Parallels: Bruyere, B., Fouilles de Deir el Medineh (1929 j, Cairo, 1930, p. 30, fig.9 (2). Comment: For provenance, see comment on DC 33195. From the New Kingdom it became usual for Ptah to be represented without a chapel and sometimes seated. (See Holmberg, M.S., The God Ptah, Lund, 1946, p. 13).

3.

COMMONER BEFORE PTAH (DC 33246)

Limestone. Height: 8.8 em. Width: 7.8 em. Provenance: Not known. N~w Kingdom. Figure of the god Ptah standing and facing left. He is wrapped in a tight-fitting garment like a mummy and has two bands crossed over his chest. His eye is drawn frontally, and he wears a square beard. His arms are crudely represented as two horizontal lines before him, which extend, probably unintentionally, beyond the wavy sceptre he is holding. In front of him stands a commoner slightly bowed forward in respect, wearing a wig and short kilt. In his left hand he appears to be holding a lotus? flower on a long stalk. His right arm is bent and he holds some kind of offering over his shoulder - perhaps a sheaf of flowers or an animal. Because of the crude execution of this ostracon, interpretation can only be speculative. The crossed lines between the two figures at the bottom of the scene may represent the top of an offering table. (Only the man on the left is drawn in black ink; the rest of the scene has been crudely incised, although there are traces of black ink visible, especially around the head of Ptah). Comment: It is quite possible this ostracon came from the vicinity of Deir el-Medina, where Ptah was held in high esteem by the artisans who worked on the tombs in the Valley of the Kings. The scene depicted may be a practice drawing to be used in the decoration of a royal or private tomb, as such scenes of worshippers making offerings to the gods were quite usual (cL Vandier d'Abbadie, J., Deux Tombes de Deir el-Medineh, I, La Chapelle de Kha, Cairo, 1939, pI. VIII). On the other hand, the ostracon could well be an ex-voto to be left at a shrine of the god.

5

4.

OSIRIS (DC 33256)

Limestone. Height: 9.2 cm. Width: 11.3 cm. Provenance: Not known. New Kingdom. Seated figure of the god Osiris facing right. He wears the Atef crown and a false beard. He sits on a block throne on a raised platform with a sloping front. Behind him appears to be one or even two fetishes of Anubis - the headless animal skin, stuffed and suspended from a pole standing in a pot. To the right of his head are three columns of hieroglyphs. (This drawing which is in black ink has been executed on a very uneven surface, and with the limestone in a friable state little of the drawing remains). Treated at the Institute of Archaeology. Inscription: Not only are the hieroglyphs crudely executed, and the inscription incomplete, but much of the surface of this ostracon has flaked off, and the black ink has smudged in places. Interpretation can therefore only be speculative. The inscription reads from left to right, and the figure in the first column appears to be the determinative ~ used with personal names in the New Kingdom. The signs in the second column contain the divine name Wslr written ~ with an unidentifiable sign beneath it. The hieroglyphs in the third column could be part of Osiris's common epithet nb Jbdw 'lord of Abydos', but this is far from clear. Comment: If the hieroglyph in the first column is a name determinative, then it is possible that a figure stood facing left worshipping Osiris in the blank space in front of him. Anubis was at all times closely associated with Osiris in connection with death and the underworld, and representations of Osiris with the Anubis-fetish frequently appear in temple and tomb scenes. (See Calverley, A., The Temple of King Sethos I at Abydos, vol. III, London, 1938, pI. 43. Bruyere, B., La Tombe No.1 de Sen-nedjem aDeir el Medineh, Cairo, 1959, pI.

XXIX).

5.

ISIS (UC 33194)

Limestone. Height: 7.3 em. Width: 11.8 cm. Provenance: Not known. New Kingdom. Figure of the goddess Isis facing right and kneeling on one leg, with the other drawn up towards her body. Her arms are outstretched and have long feathery wings attached. In each hand she holds a sheaf of lotus. Her arms, body and eye are drawn frontally. She wears a short wig with

6

a fillet tied above her brow, and the hieroglyph ~ st 'seat' on her head. She wears a closefitting dress with narrow straps over each shoulder, and a three-strand necklace. (Drawing in black ink with traces of prelLrninary sketch in red, including line down the centre of her body). Comment: This aspect of Isis with wings outstretched represents the goddess in her funerary role as 'kite' (grt) in which she is shown mourning and protecting Osiris or the deceased. She frequently appears in this guise on coffins, canopic jars and in funerary scenes in tombs (cL Maystre, C., Tombes de Deir el-Medineh. La Tombe de Nebenmat (No. 219), Cairo, 1936, pI. VI). The sheaves of flowers she holds are a mortuary offering and are symbolic oflife, Le. renewal and rejuvenation in the other world. They are regularly shown in funerary scenes, and playa prominent part in the 'Beautiful Feast of the Valley' in the Theban necropolis. (See Bleeker, C.l., Egyptian Festivals (Enactments of Religious Renewal), Leiden, 1967, p. 138). This drawing is possibly a draft for a funerary scene to be used in the decoration of a tomb wall or a piece of funerary equipment.

6.

KNEELING GODDESS? (UC 33212)

Limestone. Height: 9.7 em. Width: 9.7 em. Provenance: Not known. New Kingdom. Outline drawing of a woman facing right and sitting on her heels with her feet perpendicular to the ground. Her shoulders are drawn frontally and her arms are stretched out towards a snwsign on the ground. She wears a tripartite wig. No facial features, clothing or attributes are shown. (Drawing in black ink). Treated at the Institute of Archaeology. Parallels: Daressy pI. XIV, no. 25.068. Comment: This drawing appears to be unfinished and was probably an artist's trial piece. Although the figure has none of the attributes of a deity, it seems likely it represents either the goddess Isis or her sister Nephthys. They are sometimes shown in this attitude, with their hands on the snw-sign, in funerary scenes depicting the deceased lying on his couch with one of them at either end in a protective role. (See Davis, Theodore M., The Tomb of Siphtah, London, 1908, p. 15, and plate of Isis. Here the goddess is shown wearing a tight-fitting garment and the hieroglyphic signs for her name on her head).

7

7.

BES (UC 33198)

Limestone. Height: 11.9 em. Width: 11 em. Provenance: Not known. New Kingdom. Figure of the god Bes drawn frontally, standing with his legs bent and feet apart and turned outwards. His arms are bent at the elbows and held sideways with the palms of the hands facing upwards. He holds a shallow dish in each hand, the one in his left with a wJs-sceptre. He has a bearded face, long hair and four plumes on top of his head with two ribbons flying out at the sides. He wears a short skirt with a long central sash, a spotted mantle over his shoulders, which is tied across the midriff - perhaps a lion's skin - and long feathery wings down to the ground. The base line is shown. (Outline drawing in black ink with details painted in colour: skin a bluey-grey; hair and mantle brown; two plumes, beard, dishes and wJs-sceptre pale blue). Parallels: Vandier d' Abbadie pI. LXXXI, no. 2622; Brunner-Traut (Cambridge) pI. V, no. 6. For Bes holding dish with wJs-sceptre: Peterson pI. 18, no. 28. Comment: Clothed and winged Bes-gods are comparatively rare in Egypt. Both features are probably of Oriental inspiration, and are found on a number of examples in Egypt in the New Kingdom. (For iconography of Bes, see V. Wilson, 'The Iconography of Bes in Cyprus and the Levant', Levant VII, 1975, pp. 77-103).

As Bes is shown here holding a protective symbol, and the ostracon is regular in shape and welldrawn, it is probable it was used as a household talisman to protect women in childbirth, and to ward off sickness and dangerous animals.

8.

BES (UC 6557)

Pottery. Height: 12.5 em. Width: 14.1 em. Provenance: Lahun, quarry works north of pyramids. Marked N.Qy.PydL. XII Dynasty. Figure of the god Bes, drawn frontally, standing with his legs bent and feet apart and turned outwards. His elbows are held away from his body, and his hands rest on his thighs. He has the mane, ears and long tail of a lion. The testicles are shown either side of the tail, but the phallus, if present is not distinct. He holds a snake in each hand. (Drawing in black ink).

8 Bibliography: Petrie, W.M.F., Brunton, G., Murray, M.A., Lahun II, London, 1923, p. 14, pI. LXIX,II. Comment: This unusually early drawing of Bes shows the main iconographic elements associated with this deity in later times, apart from the headdress of plumes. The purpose of this drawing is uncertain, and although it could be a draft for something else, it is possible it had a dedicatory or prophylactic purpose (cf. Bes figures appearing on Middle Kingdom magic wands: Petrie, W.M.F., Objects of Daily Use, London, 1927, pIs. XXXVI-XXXVII).

9.

SEKHMET AND WORSHIPPING FIGURE (UC 33190)

limestone. Height: 13.6 em. Width: 11.7 em. Provenance: Not known. ? New Kingdom. Standing figure of the goddess Sekhmet depicted as a woman with the head of a lioness, which is surmounted with a large sun disk and uraeus. She faces right with her shoulders drawn frontally, and holds in her left hand a papyrus-sceptre. She wears a tight-fitting dress with straps over the shoulders. Before her, presumably kneeling, is a worshipper with hands upraised, and wearing a pleated gown with flared elbow-length sleeves. (Drawing in red ink). Comment: Sekhmet -'the powerful one'- generally associated with war and pestilence had her main cult centre at Memphis where she formed a triad with Ptah and Nefertum. She was also linked with healing and later associated with the deifIed Imhotep, and in the New Kingdom her cult was important in Thebes. Amenophis III dedicated many statues of Sekhmet in the temple of Mut in Asher. (See Benson, M. and Gourlay, J., The Temple ofMut in A sher, London, 1899, p. 31). It is possible that this ostracon may have come from Memphis, but more likely Thebes. The figure before Sekhmet is dressed in an elaborate, pleated garment typical of the late New Kingdom, and is judged to be kneeling from the relationship of the goddess's feet to the worshipper's buttocks. The drawing is carefully executed and the ostracon may be a votive to the goddess or a practice drawing for, or copy of a temple relief.

10. HATHOR (UC 33193)

Chert. Height: 7.8 em. Width: 11.3 em. Provenance: Not known. New Kingdom.

9 The goddess Hathor depicted as a piebald cow with black triangular markings, and a tail with an unusually large terminal tuft. Her horns are drawn frontally, and she has been given the falcon eye of Horus. She wears a ceremonial necklace (menat) consisting of rows of beads and counterpoise. She stands on a sledge facing left and sniffs a large lotus flower, which bends round from the front of the sledge. Beneath her belly are five small papyrus plants. On the back of the flake are three vertical columns of hieroglyphs. The drawing is on a piece of tabular chert which has the matrix preserved on both flat faces, and along two edges: these are the edges above and in front of the cow, whereas those behind, beneath and above the cow's head are breaks. It is evident that the shape of this piece suggested a cow to the artist, as can be seeri from the way in which he fitted the line of the cow's curved back and head onto it. That the chert was broken in its present form is proved by the fact that the left horn of the cow is drawn in part on the broken edge. (Drawing in black ink with traces of preliminary sketch in red). Inscription: 1. 2. 3.

IJwt-lfr nbt pt tznwt nlrw nb. w ir.n ssTwr l mJf"-hrw 2 "*n 3 Ptnw(?) 4 .~ 5

ss

Hathor, Lady of the sky, mistress of all the gods. Made by the scribe Twr, justified: the valiant scribe Ptnw.

1.

The relative form lr-n must presumably refer to the object itself and Twr must have been the artist. The name is best known as that of the celebrated Viceroy of Nubia, Ahmose called Turi, in the time of Tuthmosis I (see Reisner, G.A. 'The Viceroys of Ethiopia' in J.E.A. VI, 1920, p. 29: for recent comment Smith, H.S., Buhen II, London, 1976, PP. 207 f.), but is also recorded in the Middle Kingdom (Ranke, Personennamen, p. 379, no. 13 quoted from Cairo 20560 b c). It would seem from the style of this ostracon that it is rather too late to represent Ahmose Turi's work, though he did hold the title of scribe early in his career.

2.

m3 c .!JYw presumably cannot here indicate that Twr is deceased.

3.

~n

4.

There seems to be no trace of a sign of filiation above in 1.3 below m3C-tvw in 1.2, though it is not impossible that it could have been rubbed away. The third line may therefore give the name of Twr's father, but should represent either an epithet of Twr or the name of a second person. If as seems probable, the final sign is the personal name determinative, the latter seems more likely. Whether the name should be taken to include If:n, or whether this should be taken as an epithet 'valiant scribe' (probably meaning a military scribe) is again uncertain. If the latter, the name should perhaps be read Ptn3 or Ptnw (cf. Ranke, Personennamen, p. 137, no. 27). If the former, then a theophoric name on the pattern f5.n!Imn seems probable, but the only likely rendering f5.n-PtJ:z (not attested in Ranke, op. cit.), is not palaeographically very acceptable. The possibility that the third line was added subsequently to the first two by a different hand may be mooted (note the hollow 0 and the form of - ) , but on the whole the hand and ink seem too consistent for such a hypothesis.

5.

There are possible traces after the name determinative, presumably m3 c ·IJrw.

has been rewritten over a smudged original version.

ss

Parallels: Daressy pI. XIX, no. 25.092. Comment: This ostracon obviously served a dedicatory purpose, and it is possible it came from the Theban necropolis where Hathor was worshipped as a funerary goddess, and had her own chapel in the temple at Deir el Bahari. The lotus is probably symbolic of the giving or life.

10

11. BULL-GOD (UC 33199)

Limestone. Height: 11.3 em. Width: 14.4 em. Provenance: Not known. Standing figure of a bull-god facing right, with the sun disk between his horns which is drawn frontally. (Drawing in black). Comment: From this rather crude drawing it is difficult to say whether the Apis, Mnevis or Buchis bull-god is represented here, as none of their main characteristics or features are obvious. However, the Buchis bull can probably be excluded as it is generally represented with two plumes on the sun disk. The long, and perhaps tufted tail is not incompatible with Apis. The smudge beneath the bull's body may be accidental, but it may be an ill-humoured scribbling to cover up a mistake in the drawing of the left back leg. It seems likely that this incompetent drawing is no more than a doodle, and if it represents the Apis bull, may well have come from Memphis where this bull-god was worshipped.

12. BULL-GOD? (UC 35813) limestone. Height: 8.4 em. Width: 6.9 em. Provenance: Not known. Crude outline drawing of a standing bull facing right. He appears to have a mat and protective wings over his back, which have been summarily depicted. (Drawing in black ink with head filled in). Parallels: Hayes, W.C., Ostraka and Name Stones from the Tomb of Sen-Mat (No. 71) at Thebes, New York, 1942, pI. VIII, nos. 38, 40 and 41. Comment: It i.s uncertain whether this small drawing represents a deity or not, as the main attributes of the bull-gods are not shown. All prized animals had a reed mat thrown over their backs, but if the lines in front of the mat are indeed protective wings, this could point to it being a representation of the Apis bull who was always shown with this attribute (cL Roeder, G., A'gyptische Bronze!iguren, Band VI, Berlin, 1956, tafel 48b). As the sketch is rather crude and unfinished, it seems likely this is a practice piece.

11

13. JACKAL LYING ON WINGED DISK (UC 33229) Pottery. Height: 11.3 em. Width: 10.4 em. Provenance: Not known. ? New Kingdom. A well-executed drawing of a jackal lying couchant on top of a pair of large feathery wings, facing right. The wings spread out from a small sun disk flanked by uraei. (Drawing in black ink with the jackal filled in). Comment: To the ancient Egyptian, the winged sun disk represented the sun's day-time journey across the sky, and it was frequently used as a symbolic and decorative element in funerary contexts. It is found, for instance, at the top of royal stelae, and when used on private stelae, above figures of gods and kings; it is also often found on the lintels of doors and gateways of tombs and temples. The depiction of the jackal here may represent the god Anubis who was connected with the judgement and embalming of the deceased. He was invariably painted black in deference to his funerary nature, despite the fact the Egyptian jackal was a pale yellowish colour. He was also often shown couchant on his booth. The two elements, therefore, on this ostracon were not unfamiliar to the artist, but they were never represented together in this way. The only case where the jackal is shown in such close relationship to the sun disk, is in the depictions of the sun's night-time journey through the underworld where the solar-bark is pulled by a team of jackals, but here of course the jackal is represented standing up. (See Piankoff, A. and Rambova, N., Mythological Papyri (Texts), New York, 1957, p. 75, fig. 54). However, in Spell 334 of the Coffin Texts, a spell to enable the deceased to become 'Il)y, the sistrum-player and divine son of Hathor, there is a passage (de Buck IV, 181 a-I) which runs: "See, I have come as Lord of the Entourage, and those who follow after the Enneads fear me, the awe of me is before me as the Sistrum-player, the son of Hathor. I am indeed the Great Seed, I have passed between her thighs (in) this (my name) of Jackal of the Sunshine. * I have broken out of the egg, I have floated (?) on its white (?), I have glided on its yolk (?), I am the Lord of blood, I am a tempestuous (?) bull, my mother Isis conceived me, and she swooned under the fingers of the Lord of the gods when he broke into her therewith ..." (Faulkner, R.O., The Ancient Egyptian Coffin Texts, Vol. I, Warminster, 1973, p. 258). In this passage 'the Jackal of the Dusk' is clearly an image of the child whom the sky-goddess Hathor has conceived after impregnation by a male sky deity, presumably a sun-bull, e.g. Mnevis or Apis. If so, the ' I~y, is compared with the sun. In the drawing, the position of the jackal immediately above the sun-disk resting upon the falcon wings suggests that here also the jackal has a relationship with the sun; admittedly the term 'Jackal of the Dusk' suggests that this is with the setting sun, but it seems at least also possible that the drawing on the ostracon is connected with this fragment of mythology. *Dr. Faulkner has recently pointed out that he confused l3hw and lhhw, and that this should be translated as 'Jackal of the Dusk' . " " ....

12

14.

RAM (DC 33224)

Pottery. Height: 6.8 em. Width: 8 em. Provenance: Not known. New Kingdom. Summary drawing of a ram with long, horizontal horns (ovis longipes palaeoaegypticus) walking towards the right. A firm diagonal line drawn from the top of his head may represent a uraeus. A base line is indicated, and behind the ram a thin diagonal line is drawn across the sherd with a parallel line half its length from the top of the sherd. (Drawing in black ink). Parallels: Hayes, W.e., Ostraka and Name Stones from the tomb of Sen-Mat (No. 71) at Thebes, New York, 1942, pI. IV, no. 18. Comment: If the diagonal line from the ram's head is a uraeus and a deity is represented, the species of ram suggests that either Khnum or Ba-neb-djed, the Ram of Mendes, is depicted rather than Amun. This species was the original breed in Egypt and it was not until the XII Dynasty that ovis platyra aegypticus appeared. It was for this reason probably that the older gods such as Khnum and Ba-neb-djed were represented by ovis longipes palaeoaegypticus, and Amun who made a later appearance by ovis platyra aegypticus. (See Wainwright, G.A., Some aspects of Amun ,J.E.A. XX, 1934, pp. 139 ff.). If a deity, the ostracon may have served a dedicatory purpose.

15.

RAM (DC 33226)

rottery. Height: 5.2 em. Width: 8.4 em. Provenance: Not known. ? New Kingdom. Summary drawing of the head and forepart of a kneeling ram facing right. It has the long, wavy, horizontal horns of the ovis longipes palaeoaegypticus. There is a short hieratic inscription behind it. (Drawing in black ink). Parallels: Bruyere, B., Fouilles de Deir el Medineh (1929 j, Cairo, 1930, p. 29, fig. 8 (7).

g~

nJr(y). k m . .. Comment: The faint hieratic inscription is perhaps to be read (.... ) . . . . . . . "Mayest thou be divine in ....", though the resolution of the first two signs is not

13 certain. Presumably a place name followed, though there is little room; if the divinity represented is Khnum, m Jbw "in Elephantine" might be expected. It seems preferable to take the ram protome as a representation of a god rather than a hieroglyphic writing of sft 'glory'. The ostracon probably served a dedicatory purpose.

16. AMUN (UC 33225)

Limestone. Height: 7 cm. Width: 7.7 cm. Provenance: Not known but possibly Thebes. New Kingdom. Well drawn head of a ram, probably the god Amun, with large horns curving around its ears (avis platyra aegypticus), facing right. It has a uraeus on top of its head with the tail following the back of the head. (Drawing in black ink on very uneven surface). Parallels: For example of the uraeus similarly positioned on the head of the ram of Amun, cf. Vandier d'Abbadie pI. CXLVII, no. 2989. Comment: The careful drawing of this piece suggests it was a trial piece or draughtsman's model.

17. THOTH(UC33191)

Limestone. Height: 18.7 cm. Width: 10.6 cm. Provenance: Not known. New Kingdom. Upper part of a standing figure of the god Thoth depicted as an ibis-headed man. He faces right, but his shoulders are drawn frontally. He wears a striated, tripartite wig with a moon crescent and disk on his head; a short skirt which is tied in folds around his waist, with a broad, pleated band across his body and over his left shoulder; and bracelets on both upper arms. (Drawing in black ink). Parallels: Head on standard only: Vandier d'Abbadie pI. CLVIII, no. 3002. Comment: The figure on this ostracon represents Thoth in hts New Kingdom lunar aspect (1(1)[}I)wty) with disk and crescent moon. Its provenance could well be Thebes where the cult of '!(I)-!2l)wty was important in the early XVIII Dynasty, or Deir el-Medina, where Thoth as

14 patron of painters and sculptors was specially honoured. The drawing is particularly fine and could perhaps be an artist's trial piece for, or a student copy from, a temple relief(e.g. the relief of Ramses III officiating before Thoth in his temple at Karnak. Oriental Institute of the University of Chicago, Reliefs and Inscriptions of Karnak, Vol. I, Chicago, 1936, pI. 106); or because of its regular shape, a votive dedicated to the deity.

18. THOTH (DC 33196)

Pottery. Height: 10.1 em. Width: 9.7 cm. ot known. Provenance: ~ew Kingdom. Upper part of a figure of the god Thoth depicted as an ibis-headed man. He stands within a kiosk facing right but his shoulders are drawn frontally. He wears a tripartite wig, with a moon crescent and disk on his head. He holds the wJs-sceptre in his left hand. This ostracon is probably a palimpsest as traces of five vertical columns of hieroglyphs can just be made out, from which the paint has been scraped off - three columns to the right of Thoth and overlapping the wJs-sceptre, and two behind, but it is possible there were more beneath the drawing of Thoth, which is in a blotchy state. There is no trace of an inscription above the top of the kiosk. (Drawing in red ink with the disk and body filled in). Parallels: Daressy pI. VII, no. 25029 (reverse). Comment: cf. UC 33191. As a palimpsest has been used, it is probable the drawing is simply a student exercise; but that the ostracon served a dedicatory purpose cannot be ruled out. No connected text can be recovered from the palimpsest.

19.

HORUS (UC 33249)

Limestone. Height: 11.5 em. Width: 12.1 cm. Provenance: Not known. ? New Kingdom. The god Horus depicted as a falcon facing right with traces of the white Crown of Upper Egypt (byt) upon his head, and a flail at his side. In front of him are three stylized uraei. A base line is indicated. (Drawing in black ink).

15 Parallels: Crowned falcon only: Vandier d'Abbadie pi. CXLIX, no. 2996; Daressy pi. XXXI, no. 25.163. Comment: The summary drawing on this ostracon may represent the royal falcon Horus preying on three serpents, symbolic of Seth. Like the Cippi of Horus, perhaps it was intended as a talisman to be placed in a conspicuous place in a house or courtyard in order to protect the inmates against attack from dangerous animals and reptiles. (See Daressy, G., Textes et dessins magiques (CGC), Cairo, 1903).

20. MERTSEGER (UC 35812) Limestone. Height: 7.3 em. Width: 9.4 em. Provenance: Deir el-Medina? New Kingdom. Drawing of a serpent before a table/vase of offerings facing right. Its body is depicted in great convolutions and its hood dilated and patterned with an oval and square. A baseline is indicated. (Drawing in black ink with the oval and square on the serpent's hood filled in). Parallels: Brunner-Traut (Cambridge) pi. XXXVIII, no. 46; Brunner-Traut (Germany) pi. I, no. 47, pi. XXXII, no. 86; Peterson pI. 22, nos. 35 and 38; Vandier d'Abbadie pI. LXXXVII, nos. 2655-2658, pi. XCV, no. 2731, pi. CLII, nos. 3011 and 3012, pi. CLIII, no. 3015, pi. CLIV, no. 3013. Comment: It seems likely that this drawing is a representation of the serpent-goddess Mertseger, patroness of the Theban necropolis, whose name means 'She who loves silence'. She inhabited the mountainous area above the necropolis and was known as 'Lady of the Peak' because of her association with the distinctive pyramid-shaped peak of EI-Qurn. She was particularly revered by the workmen of Deir el-Medina, who sought her protection against the dangers of the snakes in the area. (See Bruyere, B., Mert Seger Deir el Medineh, Cairo, 1930). It is possible the drawing on this ostracon is incomplete and that the space to the right of the offering table/vase was intended for a suppliant. The offering-stand may be a vase in the shape of a lotus flower, and the offerings themselves vegetables and flowers (cf. Vandier d' Ab badie pI. XCV, no. 2731). However, it seems probable that the ostracon was for use as an ex voto to be left at the shrine of the goddess.

a

16

ROY AL FIGURES

21.

PHARAOH MAKING OFFERING TO MIN-AM UN (UC 33260)

Limestone. (Surface in extremely friable state). Height: 18.7 em. Width: 16.8 em. Provenance: Not known. XIX Dynasty? Standing figure of pharaoh facing right with one leg in advance of the other, and holding out an offering of two pots to the god Min-Amun. He wears the crown of Lower Egypt, and a short skirt with diagonal pleats and a central panel. The god Min-Amun stands on a high dais with a sloping front, and is represented ithyphallic and wrapped in a mummy cloth with his feet bound together. He has two bands crossed over his chest, and wears a broad collar. There is evici'~nce that he is holding a nt!~-flail'over his shoulder. Between the two figures is a pedestal table with offerings including a large cup and possibly two oxen's heads. There is a horizontal line of hieroglyphs at the bottom of the ostracon, and two vertical columns at the top. The whole drawing is within a frame of straight lines. (Drawing in red ink). Treated at the Institute of Archaeology. Inscription:

1. 2. 3.

Mn-a'lmn )b (MnIftp-di-nsw Mn- 'lmn c a. b.

c.

1. 2. 3.

~

Min-Amun (Mn) A boon which the king gives to Min-Amun.

1

The sign before the determinative appears to be (U.32). This is abnormal in the writing of the name of the god Mn(w), but can represent phonetic mn. Here the original text is palimpsest and appears to have comprised a cartouche with mn at its base. Presumably this is to be interpreted as the prenomen of Seti I (Mn-m3't-r'). At the same point, this cartouche has been partly washed out and rewritten with hieroglyphs in a darker red paint: two seated figures (?) to the right, possibly divinities, and a possible ~ to the left. Their interpretation is obscure. The sole difficulty here is the upright sign after the divine determinative of Mn: though faint, this again resembles the pestle but is here written the wrong way round, and after the determinative. Possibly there is sorrte scribal confusion here.

Parallels: Daressy p. XXII, no. 25120.

1,

17 Comment: This type of scene showing the king making an offering to a god was frequently depicted on tomb and temple walls. He was often shown separately wearing the Crown of Upper and Lower Egypt in juxtaposed scenes reflecting his dominance over both (cf. Osing, Jiirgen von, Der Tempel Sethos I in Gurna : Die Reliefs und Inschriften, Mainz am Rhein, 1977, pI. 8). This ostracon may well have served a dedicatory purpose, but it is also possible it was an artist's draft for a larger composition to be used in the decoration of a temple or tomb wall.

22. PHARAOH SMITING CAPTIVE (UC 33204) Limestone. Height: 22.3 cm. Width: 10.7 cm. Provenance: Not known. ? New Kingdom. Figure of Pharaoh with his right arm raised high and holding a club ready to smite a fleeing captive, whom he holds down with his left hand around his throat. Both figures face right. The king wears a lappeted wig and the uraeus over his brow, a long pleated skirt and bodice with straps over the shoulders. The captive who is almost on his knees, pushes away from the king with his left hand. He has long hair and wears a loincloth. Several corrections have been made to this drawing, including the king's right hand which was originally held in the opposite direction, and the right leg of the captive. A round-cornered structure frames the top of Pharaoh's body and head. (Drawing in black ink on very uneven surface. The incorrect features and the round-cornered structure are in fainter ink). Treated at the Institute of Archaeology. Parallels: Daressy XXIII, nos. 25.119 and 25 .121 ~ Peterson pI. 2, no. 3. Comment: Scenes propagating the might of Pharaoh, in which he is shown clubbing his foes or trampling them underfoot, were familiar throughout the dynastic era. Such depictions appear both in temple reliefs: see reconstruction of Window of Appearances in facade of the First Palace at Medinet Habu with Ramses III smiting captives (HOlscher, U., The Excavation ofMedinet Habu, vol. 3: The Mortuary Temple ofRamses III, part 1, Chicago, 1941, pI. 3), as well as on smaller objects such as the Narmer palette (Quibell, lE., Hierakonpolis I, London, 1900, pI. XXIX, and the pectoral of Amenemhet III found at Dahshur (Morgan, J. de, Fouilles Dahchour 1894, Vienna, 1895, pI. XX). The number of corrections made on this ostracon indicate it was probably a practice drawing or student exercise. It is not possible to identify the structure poised over Pharaoh's body, but as it is in a fainter ink to the rest of the drawing, it is possible that a palimpsest has been used.

a

18

23. UPPER PART OF A KING OR OSIRIS (UC 33221)

Limestone. Height: 11.7 cm. Width: 9 em. Provenance: Not known. ? XIX Dynasty. Upper part of a king or Osiris facing left. He wears the A tef crown with a large uraeus over his brow, which has its hood set away from the crown and its tail in tight coils up the front. He has a disproportionately large ear, the eye drawn frontally, and the eyebrow extending across the temple parallel to the cosmetic line. He has a large aquiline nose. He wears a false beard which curls away from the body, and a tight-fitting garment with a stand-up collar and tassel down his back. His right hand is placed above the left and holds a wJs-sceptre, Mel-sceptre and flail. (Drawing in black ink). Comment: The style of this piece points to it belonging to the New Kingdom, and more specifically to the XIX Dynasty. The large aquiline nose suggests perhaps it is a portrait of Seti I, Ramesses II or Merenptah, all of whom possessed such a nose, in contrast to the straight noses of their XVIII Dynasty predecessors. This drawing could be a student copy from a temple relief or tomb painting; e.g. from the temple of Seti I at Abydos (Calverley, A., The Temple of King Sethos I at Abydos, vol. IV, Chicago, 1958, pI. 18).

24. HEAD AND TORSO OF A KING (UC 33210)

Limestone. Height: ] 3.6 em. Width: 9 em. Provenance: Not known. ? XIX or XX Dynasty. Head and torso of a king facing right with his eye and shoulders drawn frontally. He holds his right arm across his body at shoulder level - perhaps in the position of making an offering. He wears an elaborate composite crown consisting of the Double Crown of Upper and Lower Egypt, the White Crown being flanked by twin plumes, and the Red Crown encircled with uraei with sun disks on their heads, and flanked with an horizontal pair of ram's horns with large uraei at their ends. also surmounted with sun disks. He wears a short wig with a fillet around his head, the uraeus over his brow, a false beard, broad collar and pleated skirt with a wide pleated tie around the waist and diagonal band over his shoulder. (Drawing in black ink). Treated at the Institute of Archaeology.

19 Comment: From the position of the arms, it is possible the king is holding out a sGm-sceptre, lws-scimeter, etc. or making a food or drink offering to a god. On stylistic grounds, this ostracon can probably be dated to the Ramesside period. It is very carefully drawn and could be a draft or student copy of a temple relief; e.g. see reliefs at Medinet Habu of Ramesses. III making offerings to the gods, Oriental Institute of the University of Chicago, Medinet Habu - The Temple Proper, Vol. V, Part I, Chicago, 1957, pIs. 268, 297.

25. HEAD OF A KING (UC 33219)

Limestone. Height: 8.1 em. Width: 10.6 em. Provenance: Not known. ? XIX Dynasty. Head and shoulders of a king facing left. He has an aquiline nose, thick lips, large slanting eye, and triangular-shaped colouring on cheek. From the angle of the line at the back of his head, it is probable he was wearing the blue crown (!JprS), which is visible around his ear. There are traces of a wide collar. Just above his left shoulder appears to be the nose of another person. (Drawing in black ink with preliminary sketch in red). Parallels: Head of king in blue crown, with colouring of cheek: Vandier d'Abbadie LXXVI. no.2568. For treatment of the eye and nostril, see ibid. pI. CXXXV, no. 2936. Comment: This is possibly a caricature of Seti I or Ramesses II showing the strong aquiline nose typical of both. As the lips are drawn in the style used for negro captives in the New Kingdom, it is possible this may represent a joke with Pharaoh depicted as one of his own prisoners. Because of its proximity, the nose to the left of his shoulder may belong to his queen. However. there must be doubt about its identification, as it would be a particularly large nose.

26. QUEEN AHMOSE-NEFERTARI (UC 33258)

Limestone. Height: 11.8 em. Width: 13.5 em. Provenance: By internal inference, Deir el-Medina. XIX Dynasty. (Queen Ahmose-Nefertari was represented as wearing the 'Vulture' headdress after she was deified in the Ramesside Period). Upper part of a figure of Queen Ahmose-Nefertari facing left but with her shoulders and crown drawn frontally. She wears the 'Vulture' headdress over a long tripartite wig, which is surmoull-

20 ted by a crown of uraei, sun disk and double plumes; a round-necked garment, and four armlets on her left arm. Before her facing right is the top of the shaven head of a priestly supplicant. Above him are three vertical columns of hieroglyphs and a cartouche with the Queen's name. (Drawing in black ink with traces of the preliminary sketch in red, particularly on the face and body of the queen). Inscription: 1.

2. 3. 4.

Nbt-tJ. wy '!r'!)-ms (Ntr. t-lry)! n kJ n sgm(fS) m st (mJ rt 2 ••• ) m .. tw 3 mJr_lJrw 4 5 .. sgm Lady of the Two Lands, Ahmose Nefertari. To the ka of the Servant in the Place of Truth .... ..... tw, justified ....... 1.

The signs in the cartouche are faint, but there is no doubt as to their reading. Most probably they were arranged:

2.

The semi-hieratic writing of sgm following n k3 n leaves no real doubt that the title 'Servant in the Place of Truth' was intended; though most probably it was written:

The clear m at the bottom of the line should belong to the name. 3.

The signs tw are almost certain, but above this there is room for one group only and it is followed immediately by the name determinative. The name may, therefore, continue from the previous line, but it cannot be restored with certainty.

4.

There are faint traces following the name determinative: the vertical and horizontal signs almost certainly represent m3c-tJrw, but the traces below this are doubtful and uncertain.

5.

A clear semi-hieratic sgm sign similar to that in line 2 appears behind the head of the priest. This is written on a portion of the stone which has been chipped back from the surface, as has the area above. It seems therefore improbable that there can have be.en a fourth line of text starting at the top. More probably the priest's title and name were repeated in a vertical column behind him, though this could perhaps equally well have given his father's title and name.

Comment: The community of artists, craftsmen and labourers who worked in the Theban necropolis and lived at Deir el Medina called themselves 'Servants in the Place of Truth'. They worshipped amongst other gods, Queen Ahmose-Nefertari who had been deified in the Ramesside period. This piece of limestone appears to have been roughly shaped into a miniature stela, and if this is the case, it is probable it was set up in honour of Queen Ahmose-Nefertari in one of the

21 tomb chapels at Deir el-Medina, as several similar stelae have been found there (cf. Torino 50037. Tosi, M. and Roccati, A., Stele e altre Epigrafi de Deir el Medina, Torino, 1971, pp. 71 and 275).

27. WINGED DISK OVER DOUBLE CARTOUCHE OF AMENOPHIS I (UC 33257) limestone. Height: 12 cm. Width: 12.2 cm. Provenance: Not known. New Kingdom (? Ramesside Period). Fine drawing of a winged disk enveloping the top of a double cartouche with the prenomen and nomen of Amenophis I. In the left hand cartouche there are traces of gsr-kJ-r r and in the right 1mn-!J.tp. (Drawing in black ink, but largely rubbed off). Treated at the Institute of Archaeology. Parallels: Cartouches without protective wings: Peterson pI. 73, no. 138. Comment: This ostracon has been very carefully drawn, and although it could be a trial piece, it is possible that it served a dedicatory purpose, as Amenophis I was deified and worshipped by the workmen in the Theban necropolis.

28. NEBTY SIGN (UC 33248)

Pottery. Height: 8 cm. Width: 7.5 cm. Provenance: Not known. ? New Kingdom. Cursive drawing of the nebty-sign of 'the two ladies' approximating to the normal hieratic form (see Moller, G., Hieratische Paliiographie, II, Leipzig, 1909, nos. 195 and 246). The vulture representing the goddess Nekhbet of the Upper Egyptian town of EI-Kab stands on the right, its head now obliterated; the cobra representing the goddess Wadjet of the Lower Egyptian town of Buto is on the left with a long tail falling downwards. Both have a shallow basket beneath them. There is a trace of a sign, not certainly identifiable, to the right of the nebty-sign, suggesting that there may have been a horizontal line of inscription across the ostracon, e.g. the full five-part royal titulary: but if this was present the original ostracon must have been very large. The drawing at the bottom right of the ostracon is not identifiable, but does not seem to form part of a hieratic group: it may be a different hand to the nebty-sign.

22 (Drawing in black ink). Treated at the Institute of Archaeology. Parallels: Brunner-Traut (Germany) p. 87, fig. 24. Comment: The nebty-sign could well be part of a hieratic draft for an inscription to be executed on masonry - or alternatively a scribal exercise. The fragment of drawing below does not fit well with this, and might have been added later.

29. TWO BASKETS SUPPORTING EMBLEMS (UC 33250)

Umestone. Height: 6.3 cm. Width: 7.5 cm. Provenance: Not known. ? New Kingdom. A cursive drawing of two baskets supporting emblems, as in the second element in the royal titularly (the nebty title). While, however, the right-hand emblem may well be a hieratic writing of the cobra goddess WJgyt (Moller, G., Hieratische Paliiographie II, nos. 245-6), the left-hand emblem cannot be interpreted as a vulture (ibid. II, nos. 193-5). These two upri~t signs perhaps most resemble the hieratic form of (ibid. II, 188), normal:y used as a divine determinative.

-t

(Drawing in black ink). Comment: It would seem possible that, taken alone, the two falcons on the left-hand basket might be interpreted as nb. wy 'The Two Lords' , Le. Horus and Seth represented as falcons, as this occurs sporadically as an element in the royal titulary (MUller, H., Die Formale Entwicklung der Titulatur der Agyptischen Konige, Gliickstadt, 1938, pp. 57-8). If so, however, it is puzzling to know how it should be read in combination with the uraeus.

23

30. HEAD OF A NOBLE (UC 33211) limestone. Height: 10.9 cm. Width: 7.6 cm. Provenance: Not known. l1.V.24 marked on back of ostracon. New Kingdom. Head and shoulders of a noble facing right. He has long wavy hair with the front pieces in ringlets, and a fringe. He wears a fillet around his head tied at the back, a large lotus flower over his brow, and a perfumed cone of oil on top of his head. He has a strong aquiline nose, large eye drawn frontally, and stubbly beard and moustache indicated by small black dots. A figure-ofeight has been drawn through his face. (Drawing in black ink superimposed on figure-of-eight, which is in red). Parallels: Daressy pI. XXX, no. 25.162. For treatment of stubbly beard, cf. Vandier d'Abbadie pI. CXXXV, no. 2943. Comment: This drawing of a nobleman adorned and coiffured for a special occasion is typical of the figures depicted in tomb scenes of guests at a funerary banquet (cf. Davies, Norman de Garis, Two Ramesside Tombs at Thebes, New York, 1927, pI. XXXVI), or of the owner seated and receiving offerings (cf. ibid. pI. XXV). The large Semitic nose and unshaven chin suggest, however, that this is perhaps a caricature, and the fact that the ostracon was used before for the drawing of the figure-of-eight probably indicates it was not a serious exercise.

31. HEAD OF A NOBLE (UC 15947) Pottery. Height: 8.8 cm. Width: 7.6 cm. Provenance: Thebes. Left behind by school of artists in Ramesseum brick galleries. Marked 'Petrie 2' on label on back. XIX-XX Dynasty. Head and shoulders of a noble facing left. He wears a short valanced wig, which is brought low over his forehead and behind the ears. He has a slightly aquiline nose, and short square beard. The eye is drawn frontally.

24 (Drawing in black ink). Bibliography: Petrie, W.M.F., Six Temples at Thebes, 1896, London, 1897, p. 17) pI. VI, 15. Comment: This is probably a trial piece for one of the many paintings in the royal and private tombs of the Theban necropolis. In character, the shape of the nose is reminiscent of the profIles of the Ramesside pharaohs (cf. the head of Siptah: Davis, Theodore M., The Tomb of Siphtah, London, 1908, frontispiece).

32.

HEAD OF A MAN (UC 33244)

Umestone. Height: 10.3 em. Width: 9.5 em. Provenance: Not known. New Kingdom. Head of a man drawn in proftle facing left. Details of his facial features are no longer visible. He wears a double, shoulder-length wig, and a broad collar depicted with lines radiating out from his neck. (Drawing in black ink, and flesh covered in red wash). Treated at the Institute of Archaeology. Comment: This is probably a trial piece for one of the tomb paintings in the Theban necropolis, and could represent the deceased or a member of his family (cL Davies, N. de Garis, The Tomb ofTwo Sculptors at Thebes, New York, 1925, pI. XXIX). Although it is possible the features have disappeared with time, it is also possible that the mouth and eye have been deliberately erase as it is mainly in these areas that the red paint is no longer Visible.

33. HEAD OF A MAN (UC 33197)

Ilmestone. Height: 4.5 em. Width: 8.8 em. Provenance: Not known. ? New Kingdom. Head and shoulders of a man with straight, tousled hair. He is drawn in profile facing left, but with his eye drawn frontally. He has an aquiline nose. (Crude drawing in black ink with traces of preliminary sketch in red).

25 Parallels: Spiegelberg, W., Hieratic Ostraka and Papyri found by J.E. Quibell in the Ramesseum, 1895-6, London, 1898, pI. XLVIII, 6; Brunner-Traut (Germany) pI. XXI, no. 56. Comment: This drawing is possibly a trial sketch of a labourer or boatman for one of the genre subjects depicted in the tomb paintings of the New Kingdom. The short, untidy hair can perhaps be paralleled, for example, with that of one of the Nile boat-crew depicted in the tomb of Pairi (no. 139) at Thebes (see Davies, N., Ancient Egyptian Paintings, II, Chicago, 1936); or the farm labourer harvesting in B.M. 37982 (ibid. pI. LXVIII).

34. FACE OF A MAN

(UC 33243)

Pottery.. Height: 9.8 em. Width: 12.4 em. Provenance: No+ known. ? XX Dynasty. Crudely drawn face of a man, probably a foreigner, with frontal aspect. His hair is long and straggly with a centre parting, and his eyes and eyebrows asymmetrically drawn. He has a thin nose and narrow rectangular mouth. Marks to the right of his head are not identifiable. (Drawing in black ink). Treated at the Institute of Archaeology. Parallels: Vandier d' Abbadie pI. CXXXIII, no. 2928. Comment: The ancient Egyptian artist rarely drew the face frontally and when he did it was almost invariably of a foreigner (apart from the hieroglyphic ideogram of hr 'face' (Gardiner's D2)). This attempt at breaking with convention has resulted in a rather incompetent drawing. The nose is represented by a single line, and the mouth a rectangle. It probably represents a foreigner but as it lacks any distinctive attribute, it is not easy to identify the race. The heartshaped face bears a certain resemblance to the physiognomy of the Philistines as depicted in the reliefs of a naval battle on the walls of the temple of Ramesses III at Medinet Habu, but this is little to go on; cf. for details of face: Nelson, H.H., The Epigraphic Survey of the Great Temple of Medinet Habu. Medinet Habu 1924-28, Chicago, 1929, p. 31, fig. 21. There is possibly an element of caricature in the drawing.

26

35. HEAD OF A FOREIGNER (UC 33218) limestone. Height: 5.8 em. Width: 7.1 em. Provenance: Not known. New Kingdom. Lower part of the head of a man facing left. He has his hair in ringlets down his back, and a plaited sidelock, which ends in a large curl, in front of his ear. He has a short pointed beard. His eye is very large and drawn frontally. (Drawing in black ink v{ith traces of preliminary sketch in red). Parallels: Brunner-Traut (Germany) pI. XXVII, no. 74. Comment: This drawing is probably of a Libyan as the sidelock was the usual mode of hairdressing of the Eastern libyans and invariably given to Libyans by the Egyptian artist. (Bates, 0., The Eastern Libyans, London, 1914, p. 135). Cf. four Libyans in the painting flOm the tomb of Seti I, ibid. pI. III; and portrayal of Libyan on faience tiles from Medinet Habu, Holscher, D., The Mortuary Temple ofRamses III, vol. IV, part II, Chicago, 1951, pI. 30. This ostracon may be a draft for a temple or tomb scene.

36. TWO HEADS OF FOREIGNERS (UC 33213) Pottery. Height: 7.5 em. Width: 9.5 em. Provenance: Not known. New Kingdom. Crude drawing of the head and shoulders of two men facing right. The features of the man on the left are more definite and show him with a very large nose, eye drawn frontally with cosmetic line, and short-cropped hair marked with lines to indicate either rows of curls or the hair strands. His arms are tied behind his back and a rope is depicted. The figure on the right has a short wide wig and beard, but his features are smudged. (Drawing in black ink). Treated at the Institute of Archaeology. Comment: The drawing on this ostracon appears to be a caricature of two Asiatic prisoners. Such prisoners were frequently shown in this attitude being brought to Pharaoh or presented to a god (cf. Oriental Institute of the University of Chicago, Medinet Habu - The Eastern Gate, Vol VIII, Chicago, 1970, pIs. 604, 606).

27

37. STANDING MAN (UC 33237) Pottery. Height: 12.7 em. Width: 11.1 em. Provenance: Not known. New Kingdom. Headless, standing figure of a man facing right with his left leg in advance and his shoulders drawn frontally. His right arm is held high across his chest and his left arm away from his body but down. In both hands he is holding something, probably an offering, but it is difficult to identify. He wears a short wrapover kilt. (Drawing in black ink). Treated at the Institute of Archaeology. Comment: This is a standard portrayal of an offering bearer as depicted in the tomb scenes from the Old Kingdom onwards (cf. drawing of an offering bearer in Tomb 92 at Thebes. Baud, Marcelle, Les Dessins Ebauches de la Necropole Thebaine (au temps du Nouvel Empire), (IFAD) Cairo, 1935, pI. XX). It is difficult to identify the offering as this part of the drawing is indistinct, but it is possible he is holding a sheaf of flowers in his left hand, a symbol of life - renewal and rejuvenation in the other world. The ostracon is probably a student exercise or draft to be used in the decoration of a tomb scene.

38. SEATED MAN BEFORE TABLE OF OFFERINGS (UC 33239)

limestone. Height: 7.2 em. Width: 6 em. Provenance: Not known. New Kingdom. Figure of a man seated on a low-backed, block throne facing right, with his arms extended. Before him is a small table laden with food offerings consisting of round and conical loaves of bread, and fowl. Behind him stands another figure with its left leg in advance, and shoulders drawn frontally. Above and between the two figures is a crudely drawn wgJt-eye, and beneath them in a lower register, traces of an unidentifiable drawing. (Drawing in black ink, and part of outline incised). Treated at the Institute of Archaeology. Parallels: Peterson pI. 35, no. 60.

28 Comment: This piece of limestone, alihough badly damaged, appears to have been roughly shaped into a miniature stela. It shows a funerary offering scene with the deceased seated, and his wife or son in attendance. The wgJt-eye is probably one of a pair, as these are often shown at the top of such stelae. It is not possible to gauge the size of the lower register as the stela is broken off here, but it seems likely that the drawing may have depicted other members of the deceased's family or attendants bringing further offerings (cf. Torino 50023. Tosi, M. and Roccati, A., Stele e altre Epigrafi de Deir el Medina, Torino, 1971, pp. 56 and 269). If this ostracon was used as a funerary stela, perhaps its crude execution could indicate it came from one of the workmen's tombs at Deir el-Medina.

39. KNEELING MAN BEFORE TABLE OF OFFERINGS (UC 33238)

Pottery. Height: 11.3 cm. Width: 13 cm. Provenance: Not known. Marked with '0' in black ink below base line. New Kingdom. Headless figure of a man kneeling on his left leg and sitting on the heel of his foot which is perpendicular to the ground. His right leg is drawn up towards his body with the foot flat on the ground. His arms are raised in adoration, and he wears a wide-sleeved garment. He faces left. On a small table before him are stacked four round loaves of bread and a large lotus flower. A curved line to the left of the table may be the lower leg and foot of a god. A base line is indicated. (Drawing in black ink). Parallels: Brunner-Traut (Germany) pI. XXVIII, no. 77. Comment: This type of scene was frequently shown on stelae set up in chapels of the Theban necropolis, as votives to the gods (cL Torino 50037. Tosi, M. and Roccati, A., Stele e altre Epigrafi di Deir el Medina, Torino, 1971, pp. 71, 275). In this instance, however, although this ostracon may be a substitute stela, it is more likely the drawing was a draft for, or copy of, a scene depicted in one of the tombs (cL Bruyere, B., La Tombe no. 1 de Sen-Nedjem aDeir el Medineh, Cairo, 1959, pI. XXIX). If the curved line to the left of the ostracon represents the mummiform feet of a god, this may be Osiris, as god of the dead, or Ptah, who was frequently invoked at Deir el-Medina, being patron of artists.

40. UPPER PART OF A STANDING FIGURE (UC 33245) Limestone. Height: 7.2 cm. Width: 6.3 cm. Provenance: Not known. New Kingdom.

29 Upper part of a standing figure facing left with shoulders drawn frontally, and alms held down but away from body. The angle of the back of the head indicates that a headdress was probably worn. Because of the pitted surface of this ostracon, it is difficult to distinguish the clothes and indeed the sex of the person. However, the lines near the shoulders may indicate shoulder-straps and there does seem to be a widening of the hips, which may indicate this is a woman. Facing this figure at shoulder level is what appears to be the front of a kneeling animal with a long neck, perhaps an antelope or goat. (Drawing in black ink on red wash surface?). Treated at the Institute of Archaeology. Parallels: Peterson pI. 19, no. 29. Comment: Although there is little evidence to go on to firmly identify this drawing, several possibilities present themselves. Firstly, it may represent a standard tomb scene of an offering being pla~ed before a deity or deceased person. As the drawing is crudely executed, it is probable it was a trial piece. On the other hand, it may represent the Goddess Anukis. Her plumed headdress would follow these lines, and she is often shown with her cult animal, the gazelle (see above-mentioned parallel). The workmen at Deir el-Medina were not unfamiliar with Anukis, although her cult centre was at Elephantine. One ostracon found there shows Anukis as a gazelle leaving the Theban mountain. (See Vandier d'Abbadie pI. XCV, no. 2729).

41. STRIDING MAN (DC 6559i)

Pottery. Height: 10 em. Width: 7.5 em. Provenance: Lahun (northern chips?). L.N.C. marked in ink on back of ostracon. Date: The 'northern chips', in which this and U.C. 6559ii were found, appear from Petrie's description to have been detritus from the quarrying for the pyramids and associated tombs. Though it is hardly certain, it does seem likely these ostraca were deposited during the XII Dynasty.

Figure of a man striding towards the right with his left leg advanced. He appears to be holding something on his head with his right hand. A wide crack across his head has almost obliterated it. He wears a short wrapover skirt. (Drawing in black ink). Bibliography: Petrie, W.M.F., Brunton, G., Murray, M.A., Lahun II, London, 1923, p. 2, pI. XLVII, 27.

30 Comment: This ostracon has been broken since it was originally drawn and published by Petrie. A break at the top of the ostracon through the head has now been repaired, but the shape of the sherd is different indicating some of it is missing. The drawing is summary but from the depressed shape of the body it would appear that the man is carrying something heavy on his head, perhaps a vessel or basket of produce. Lacking context, it is difficult to say whether the man is an offering bearer or perhaps an agricultural worker (cL man in vintage scene with basket of grapes on his head from Tomb no. 2 at Beni Hasan: Newberry, Percy E., Beni Hasan, Part I, London,1893, p. 31, pI. XII, register 2). Perhaps the drawing was a trial piece for a tomb scene.

42. SEATED MAN (UC 6559ii)

Pottery. Height: 10.2 em. Width: 6.2 em. Provenance: Lahun (northern chips?). L.N.C. marked in ink on back of ostracon. XII Dynasty. (See DC 6559i). Figure of a man seated on a backless chair with his feet resting on a raised base, facing right. The seat is drawn sloping forwards and has two parallel lines drawn near the top, probably indicating struts. He wears a long bag-wig. (Drawing in black ink). Bibliography: Petrie, W.M.F., Brunton, G., Murray, M.A., Lahun II, London, 1923, p. 2, pl XLVII, 26. Comment: This ostracon has been broken in three pieces but mended. The summary drawing presumably represents the figure of a deceased, and may have been an artist's trial piece for a tomb scene (cf. Griffith, F.L. and Newberry, P.E., El Bersheh, Part II, London, 1894, pI. XIV). However, the unsure and incompetent way in which the seat has been depicted may indicate it was a student's exercise.

43.

LOWER PART OF SEATED FIGURE (UC 33240)

Pottery. Height: 7.5 cm. Width: 7.7 em. Provenance: Not known. New Kingdom. Lower part of a figure, probably a deity or deceased person, seated on a block throne with a low curved back, facing right. In front of this figure are traces of a pleated skirt, perhaps of a worshipper or donor. (Drawing in black ink).

31 Parallels: Daressy pI. XXI, no. 25.114. Comment: This drawing represents a traditional scene used frequently on funerary stelae (cf. Torino 50003. Tosi, M. and Roccati, A., Stele e altre Epigraji di Deir el Medina, Torino, 1971, pp. 66, 262) and in the tomb paintings of the Theban necropolis (eL Bruyere, B., La Tombe no. 1 de Sen-Nedjem Deir el Medineh, Cairo, 1959, pI. XVII, 1). It is likely that this was a draft for, or copy of such a scene.

a

44. TWO MEN WALKING (DC 33214)

Limestone. Height: 6 cm. Width: 7.3 cm. Provenance: Not known. Crude dr(l~~lng on a squared-off piece of limestone of two men walking to the right with their left legs advanc~d, their shoulders drawn frontally, and each holding a staff in his left hand. The facial features of the man on the left are not defined, and are only summarily shown in the man on the right. They both wear stiff, pleated kilts which are tied round the waist at the back and beneath the navel in front; the tie being indicated on the man on the right. On the reverse side of the ostracon is one vertical line of inscription. (Drawing in black ink, but trace of red on upper arm of man on left, and fleck on bottom righthand corner). Inscription: The vertical hieratic inscription in black ink on the reverse is not easy to interpret. The first sign is undoubtedly ~ (Moller, HP 269). The second and fifth signs probably represent the same hieroglyph, which must be a male figure, more probably standing than seated, but which of a number of such signs is intended is not clear. The third sign is damaged, and the fourth in its present state is not decipherable. The final signs represent 0 , the sun-disk (Moller, HP 303) and a fiat sign, e.g. - (Moller, HP 331) or = (Moller, HP 317). In Petrie, Objects ofDaily Use, p. 68, the inscription was read as 'Ra-khet' or 'Khet-su', and presumably interpreted as a name; neither of these is satisfactory, and even if a name is present, the lack of a final human determinative suggests that it does not fill the whole inscription. If the inscription has any relation to the drawing on the obverse, two personal names might perhaps be expected, to which signs 2 and 5 might be the determinatives; the first then might be interpreted as the common name fft(y) in an abbreviated writing. But the remainder is obscure and resists certain in terpretation.

at

Bibliography: Petrie, W.M.F., Objects ofDaily Use, London, 1927, p. 68, no. 115, pI. LVIII. Parallels: Peterson pI. 41, no. 74. Comment: The symmetrical shape of this ostracon suggests it served a purpose other than an artist's drawing board.

32

45. STANDING MAN (UC 33247)

Limestone. Height: 12 cm. Width: 8.9 cm. Provenance: Not known. Crude drawing of a standing man facing right with one foot in advance of the other. He holds a stick or arrow in his right hand above his head, and either another stick or bow in his left hand. He wears a spotted animal skin over his left shoulder with its tail falling away from his back. (Drawing in black ink with traces of red). Treated at the Institute of Archaeology. Comment: It is difficult to say what is represented here as the attributes of this small f -,ure are not easy to identify. Perhaps he is a hunter with bow and arrow, or even a herdsman .vith sticks to prod his animals. Both subjects were familiar throughout the Pharaonic period, but the drawing here is particularly reminiscent of the figures depicted in the predynastic Decorated Tomb (no. 100) found at Hierakonpolis (cf. Quibell, J.E. and Green, F.W., Hierakonpolis II, London, 1902, pIs. LXXV, LXXVI). Here the men are drawn with the same matchstick limbs, and a couple of them wear similar spotted animal skins with the tails thrown over their shoulders. The crudeness of this drawing may also point to it being of early date.

46. PEASANT CARRYING BUNDLES (DC 2227) Pottery. Height: 21.3 cm. Width: 18.5 cm. Provenance: Thebes. Found in brick chamber north of the pylon of Tuthmosis IV. Marked '108' on front of ostracon, and 'EDW' on back. New Kingdom. Peasant walking towards the right with his left leg advanced. He carries two bundles - one in his right hand at his side, the other on a long stick held over his shoulder in his left hand. His head is drawn in profIle with coarse features and a shock of straight, unkempt hair. His shoulders are drawn frontally. He wears a short, draped skirt tied round his waist, and a short-sleeved, round-necked vest. (Drawing in black ink). Bibliography: Petrie, W.M.F., Six Temples at Thebes, 1896, London, 1897, p. 18, pI. VI, 17; idem Objects ofDaily Use, London, 1927, p. 68, no. 108. Capart, J., Recueil de Monuments Egyptiens, II, Brussels, 1905, pI. XC. Parallels: Brunner-Traut (Cambridge) pI. XII, no. 15.

33 Comment: This could be a practice drawing for one of the genre subjects painted in the tombs of the Theban necropolis during the New Kingdom. It is not possible to identify what the peasant is carrying, but he could perhaps be a farm labourer walking to the fields with his food supply and other necessities, or a shepherd following his herd with his supplies, as seen in the tomb of Ipuy (no. 217). (See Davies, N. de Garis, Two Ramesside Tombs at Thebes, New York, 1927, pIs. XXX, XXXIV).

47.

REGISTERS OF FIGURES (UC 33208)

Pottery. Height: 14.1 cm. Width: 10.2 cm. Provenance: Not known. ? New Kingdom. On the concave side of this ostracon, there are three registers of figures. At the top: a seated figure of a god or king before a table of offerings. He wears a uraeus on his crown, and holds a flagellum and r nb-sign. A royal figure stands behind the table and holds out an offering in his right hand, and in his left an r nb-sign. He is followed by other smaller figures, mainly obliterated. In the middle register: two seated figures with five standing figures in front of them, each in a different pose and holding a stick. In the bottom register: four men, again in different poses, with the two on the right holding bows. All the figures are stick-like. On the convex side, there are two registers of figures but these are barely discernible, although infra-red photography has brought out certain elements. In the top register to the left, there is a well-drawn male figure walking toward the right. He wears a short wrapover kilt. There is little trace of the other figures. (Drawing in black ink). Comment: The narrative in the top register shows either a deceased king or god seated before a table of offerings, with two or possibly more figures holding out further offerings. This is a standard scene found on tomb walls and votive stelae (cL Tosi, M. and Roccati, A., Stele e altre Epigrafi di Deir el Medina, Torino, 1971, pp. 264-266). The narrative in the lower registers is more problematic. It would seem however that the standing figures are lined up to take part in variol:ls sports in front of the two seated figures. In the middle register the figures carry sticks and are probably contestant~ for single-stick, a popular spectator sport. (See Touny, A.D. and Wenig, S., Der Sport im alten Agypten, Leipzig, 1969, pp. 26-29, pIs. 6,15). The thickening of the hand of the second figure on the right may in fact represent the basket or guard which was used as protection over the knuckles. In the bottom register the two figures on the right definitely hold bows, but the two on the left are impossible to interpret. The schematic drawing on this ostracon is , reminiscent of the figures drawn on papyrus, and on the tomb walls where the artist seeks to create the effect of an unrolled papyrus (cf. Tomb of Tuthmosis III. Bucher, Paul, Les Textes des Tombes de Thoutmosis III, vol. I, Cairo, 1932, pIs. I-XXVI).

34

WOMEN 48. MONKEY SCRATCHING GIRL'S NOSE (UC 15946)

Pottery. Height: 9.9 em. Width: 10.7 em. Provenance: Thebes. Left behind by school of artists in Ramesseum brick galleries. Marked in pencil on back 'Amenhotep II', and on label 'Petrie 2'. XIX-XX Dynasty. Very fine drawing of the head and shoulders of a girl facing left. She wears a heavy wig with a perfumed cone of oil on top of her head, and a lotus flower and bud over her brow, with the stalk trailing down the back of her head. An attempt has been made to draw the shoulders in profile, but the eye is drawn frontally. A monkey facing right scratches the girl's large aquiline nose with its left paw. It has a long snout and pronounced eyebrows. (Outline drawing in black ink with traces of prelimary sketch in red. The wig appears to have been filled in first with a red wash and then black. Her cheeks are coloured red, and the monkey's snout filled in with black). Bibliography: Petrie, W.M.F., Six Temples at Thebes, 1896, London, 1897, p. 17, pI. VI, 14. Vandier d' Abbadie, J., Les singes familiers dans l'ancienne Egypte (peintures et bas-reliefs), III. Le Nouvel Empire. Revue d'Egyptologie, 18, p. 156, fig. 17. Gilbert, P., Portrait generalise et modele royal dans la sculpture pharaonique, Chronique d'Egypte, 62, p. 235, fig. 11. Comment: The drawing on this ostracon may be the work of two artists. The head of the girl has been executed with a competent and delicate stroke, but the monkey, which appears to have been added later, is done with a thicker brush and with less care. It is quite possible the drawing of the girl, who has the strong aquiline nose typical of the Ramesside period, is a trial piece for one of the many tomb paintings in the Theban necropolis (cL Davies, N. de Garis, Seven Private Tombs at Kurnah, London, 1948, pI. VII), and because of its satirical nature the monkey was added later, perhaps by a fellow artist as a joke.

49. GIRL WITH CUP (UC 33223)

Limestone. Height: 12.4 em. Width: 10.8 em. Provenance: Not known. New Kingdom.

35 Standing figure of a girl facing right and drawn in three-quarters profile. Her hair is drawn back into a large curl at the back of her head. Her body and legs are well rounded and can be seen beneath a diaphanous gown depicted by a line drawn down the back of her legs, and a loose sleeve dropping from her right arm. The pubic triangle is indicated. She holds her left hand to her brow, and in her right hand a cup. (Drawing in black ink with sidelock and pubic triangle filled in). Parallels: For hair style see:Vandier d'Abbadie pI. LII, no. 2339. For dress see: Daressy pI. IX, no. 25.044. Comment: This drawing of a servant-girl with her hair drawn back in traditional manner into one large curl, reflects many of the stylistic characteristics introduced during the Amarna Period - the long thin skull, jutting chin, long neck, thin arms and sagging stomach. The loose sleeved, diaphanous gown under which a woman appeared naked, was worn by ladies of standing, and it would therefore seem possible that here the artist is satirizing a familiar scene (cL daughters of Akhenaten: Davies, N. de G., The Rock Tombs of EI A marna, part II, London, 1905, pI.V).

50. HEAD AND SHOULDERS OF A CHILD (UC 33217)

Limestone. Height: 3.2 cm. Width: 5 cm. Provenance: Not known. New Kingdom. Head and shoulders of a female child facing right, with her fingers held to her mouth. She wears a braided sidelock of youth with a hair-ring keeping it in order, streamers down the back of the head, and a large circular ear-stud decorated with a cross. A series of lines on her upper arm and down her back may indicate the pleating of a loose garment. (Drawing in black ink with traces of preliminary sketch in red. Back is indicated with incised line). Parallels: Vandier d'Abbadie pI. LXV, nos. 2469-2471. Comment: This drawing is of a noble or royal child who is adorned in fashionable accoutrement. The ear-studs were a fashion introduced during the Alnarna Period, and the hair-ring although probably known earlier was not represented in detail until the New Kingdom. The drawing is not unlike the representations of the youthful queen of Tutankhamun seen for instance on the gilt shrine found in his tomb (cf. Carter, H., The Tomb of Tutankhamen, vol. II, London, 1927, pI. I). It has been carefully executed, and may be the product of one of the artists or craftsmen working on the royal tombs in the Theban necropolis.

36

MAMMALS

51. HORSE AND PART OF CHARIOT (DC 26937)

Pottery. Height: 10.7 em. Width: 11.9 em. Provenance: Not known. New Kingdom. Drawing of the upper part of a lively horse harnessed to a chariot, facing left. The horse's head is held high on a tight rein and its tail flies in the air. Only the front part of the chariot is shown, and above it possibly the ends of a whip. (Drawing in red ink apart from the chariot and rein leading to it, which are black). Parallels: Brunner-Traut (Germany) pI. XXXVI, nos. 102-104; Brunner-Traut (Cambridge) pI. XXIII, no. 27; Daressy pI. XXIII, nos. 25.122 and 25.123, pI. XXIV, nos. 25.124 and 25.125; Peterson pI. 45, nos. 81 and 82, pI. 46, no 83; Vandier d' Abbadie pIs. XIX-XXIII, CIV-CVI. Comment: In the New Kingdom, the horse and chariot were introduced into Egypt from the Near East. In this preliminary sketch the artist with a few bold strokes has shown that he is not unfamiliar with his subject, and has successfully captured a certain liveliness in the horse (cf. Nagel, G., Quelques representations de chevaux sur des poteries du Nouvel Empire, BIFAO, XXX, 1931, pIs. 185 ff.). Several ostraca have been found with depictions of horses and chariots, and these most often show Pharaoh in a battle scene smiting his enemy, the huntsman shooting at his prey, or simply a man riding in a chariot. As only part of the chariot platform remains of this drawing, one cannot be sure of its context. However, the restraint of the horse may indicate a passive scene. Perhaps it is a practice drawing but it may be a draft to be used in the decoration of a tomb 'wall with, for instance, the familiar scene of an official inspecting the fields from his chariot (cf. British Museum no. 37.982 of horse and charioteer from wall-painting in an XVIII Dynasty Theban tomb. British Museum, Wall Decorations oj'Egyptian Tombs, London, 1914, p. 12, pI. VII, 2; Tylor, J.J., and Griffith, F.LI., The Tomb of Paheri at EI Kab, London, 1894, pI. III).

37

52. HEAD OF A HORSE (DC 33234) Pottery. Height: 10 em. Width: 6.2 em. Provenance: Not known. New Kingdom. Head of bridled horse. It is not possible to say at what angle the head was held, but it is illustrated here with the wheelmarks of the pot horizontal to the ground. The horse is depicted with a large eye, flared nostrils, and open mouth with teeth showing. Parts of the bridle are visible at the top of the head and over the nose. (Drawing in black ink). Parallels: For bridled horse: Brunner-Traut (Germany) pI. XXXVI, no. 104; Daressy pI. XXIV, nos 25.124 and 25.125; Peterson pI. 18, no. 31, pI. 46, no. 84; Vandier d'Abbadie pis. XIX-XXI. Comment: See comment on DC 26937, and Appendix 2, pI. I. This drawing was probably an artist's trial piece, and may have been used for a larger design, such as a scene with a hOHse and chariot, or a bare-hack rider.

53. PAIR OF HORSES (UC 33236) Pottery. Height: 4.9 em. Width: 6.6 em. Provenance: Not known. New Kingdom. Bowed heads of a pair of horses facing right. Their bridles are indicated and one horse has its mouth pulled open causing the lower lip to fall loose. Part of the harness includes a square pad at the base of the neck. (Drawing in black ink). Treated at the Institute of Archaeology. Parallels: Daressy pI. XXIII, no. 25.122 and pI. XXIV, no. 25.124; Peterson pI. 45, no. 81; Vandier d'Abbadie pI. XX, no. 2163, pI. XXII, no. 2171. Comment: See comment on DC 26937. Pairs of horses are frequently shown pulling chariots, perhaps in battle, the hunt or inspection of the fields. The Egyptian artist invariably depicts them with only the heads or legs duplicated. This ostracon with its confusion of lines is probably an artist's trial piece or draft to be used in the decoration of a tomb scene (cL Davies, Norman de Garis, The Tomb ofNefer-Hotep at Thebes, vol. I, New York, 1933, pI. XVI).

38

54. HEAD OF A HORSE AND DOOR BOLT (DC 33235)

Pottery. Height: 5.7 em. Width: 5 em. Provenance: Not known. New Kingdom. Head of a horse facing left. It is shown with small pricked up ears, a protruding eye and open mouth. Part of its mane is depicted, and a heavy line down the length of the head probably indicates the cheek bone. A large door bolt has been drawn vertically in front of the horse's head. (Drawing in black ink). Parallels: Brunner-Traut (Cambridge) pI. XXIV, no. 28; Vandier d'Abbadie pI. XIX-XXIII. Comment: For comment on the horse see UC 26937 and UC 33234. The type of bolt depicted here was used to seal doors. It slid on holders on the door and a string was passed round the middle groove to which the seal was attached (cf. bolts on shrine from Tutankhamun's tomb. Carter, H., The Tomb of Tutan khamen , vol. II, London 1927, pI. LIX). It was used as a hieroglyphic sign: ideogram in s 'bolt' (Gardiner's 034), and in inscriptions was drawn horizontally. Whether the bolt is representational or a hieroglyphic sign, it seems likely the drawings here are a student exercise.

55. HEAD OF A DONKEY, BASIN AND AMUN (UC 33206)

Pottery. Height: 13.5 em. Width: 13.9 em. Provenance: Not known. New Kingdom. Head of a donkey facing left with long pointed ears. An incorrectly placed ear has been drawn lower down the head. In front of the donkey is an alabaster basin covered in a herring-bone design. Beneath the donkey are two wide horizontal bands joined together by a herring-bone design. In front of this is the upper part of a figure of the god Amun with a long beard, and wearing the crown with double plumes, and holding a wJs-sceptre. (Drawing in black ink on concave surface of potsherd). Comment: The drawings on this ostracon do not appear to be related to each other, but are probably the trial sketches of an artist, or even a student, of a number of standard motifs. The donkey is well observed with its strong jaw line and pointed ears, but is obviously the tentative work of the artist in that several attempts have been made with the ears. The donkey was an animal commonly depicted in the scenes which decorated the tomb walls of the Theban necro-

39 polis. He appeared most often in agricultural scenes, perhaps returning from the fields laden with produce (cf. Davies, N. de Garis, Two Ramesside Tombs at Thebes, New York, 1927, pIs. XXX, XXXIV). The basin of alabaster was used as a hieroglyphic sign, determinative !Jh 'feast' (Gardiner's W3). The herring-bone design covering it was the conventional way of showing the veining that can be seen in alabaster (cf. Davies, N. de Garis, The Tomb ofRekh-mi-Re' at Thebes, vol. I, New York, 1943, pI. XVI). The only other recognizable feature on this ostracon is the figure of the god Amun who is shown with his usual attributes. As well as forming a Theban triad with Mut and Khonsu, in the 18th Dynasty he became of increasing importance as a State god and not unnaturally in the artist's repertoire.

56. BULL AND PINTAIL DUCK (UC 33209)

Pottery. Height: 6.1 em. Width: 12 em. Provenance: Not known. Probably Late XVIII Dynasty. Uvely drawing of a young bull leaping through the air towards the right with its front and hind legs stretched out obliquely to the ground. A pintail duck hovers above its head. (Drawing in black ink). Parallels: Peterson pI. 53, no. 100; Vandier d'Abbadie pI. XII, no. 2072. Comment: The ancien t Egyptian artist depicted the bird and animal life in the marshes both in secular and funerary buildings. This drawing may well have been a draft for a larger design, and its lively tenor suggests that it was probably a product of the Amarna 'revolution' with its desire for naturalism. It is most closely parallel to a scene on the painted pavement of Akhenaten's palace at Tell el Amarna, where a young bull is seen leaping through a papyrus thicket with pintail ducks hovering above. (See Petrie, W.M.F., Tell el A marna, London, 1894, pIs. II and III). A similar scene was depicted on a brick bench found in the Palace at Malkata. (See Hayes, w.e., The Scepter of Egypt, Part II, Cambridge, Massachusetts, 1959, p. 247, fig. 149).

57. BULL AND MAN (UC 33202)

Umestone. Height: 8.8 em. Width: 9.4 em. Provenance: Not known. Heavily built piebald bull walking towards the right. His head is missing. He is driven along by a herdsman who wears a short skirt, and holds a stick in his right hand and a coil of rope over his left arm. He is disproportionately small against the bull. A base line is indicated.

40 (Drawing in black ink with traces of preliminary sketch and some patches on bull in red. Surface in extremely friable state). Treated at the Institute of Archaeology. Parallels: Brunner-Traut (Cambridge) pI. XXIX, no. 34~ Brunner-Traut (Germany) pI. XXXVII, nos. 106-108~ Daressy pI. XXVIII, no. 25142~ Vandier d'Abbadie pIs. IX-XI. Comment: Scenes of flocks and herds being inspected by deceased owner are frequently depicted in the decoration of tombs (cL Davies, Nina de Garis, The Tombs ofMenkheperrasonb, Amenmose, and Another, London, 1933, pI. XIV), and this drawing may have been a draft for or a copy of such a scene.

58. BULLS FIGHTING AND MAN (UC 33200)

Limestone. Height: 13.1 cm. Width: 16 cm. Provenance: Not known. Marked 'EDW'. ? New Kingdom. Two bulls facing each other with their heads down and their horns interlocked. A correction in the hind leg of the bull on the right has been made and two extra lines are shown. A base line has been drawn. Above the bull on the right is a man striding out and facing left. His right arm is raised and his left is held across his body. He wears a short skirt. His head has been obliterated. A base line is indicated. (Drawing in black ink). Treated at the Institute of Archaeology. Parallels: Hayes, W.C., Ostraka and Name Stones from the Tomb of Sen-Mat (No. 71) at Thebes, New York, 1947, p. 12, no. 15, pI. III. Vandier d'Abbadie pI. XII, no. 2071, pI. XV, no. 2108. Comment: Bull-fighting was a sport enjoyed by the ancient Egyptians and depictions such as this occurred in tombs at Beni Hasan and Thebes, generally in scenes of the review of cattle by the tomb owner (cL Newberry, Percy E., Beni Hasan, Part II, London, 1893, pI. XII~ and Davies, Nina de Garis, The Tomb of Amenemhet (No. 82), London, 1915, pI. VI). This drawing may have been a practice sketch for such a scene. As a base line is drawn beneath the man as well as the bulls, it is possible these indicate registers and that the two subjects are unrelated.

41

59. HUNTING DOG ATTACKING PREY? (UC 33259)

Pottery. Height: 8.3 em. Width: 9.2 em. Provenance: Not known. Early XVIII Dynasty. The drawing on this ostracon is difficult to identify as so little of it is shown, but it is possible that it represents a hunting dog leaping through the air and attacking a quadruped. The dog's hind legs are extended, and of the lines drawn to represent its forelegs, the two centre ones are in red and can be discounted, as they were trials. Only the hind legs of the quadruped are shown, and these are crudely drawn. (Drawing in black ink with traces of preliminary sketch in red). Treated at the Institute of Archaeology. Parallels: Daressy pI. XVII, no. 25.084; Vandier d'Abbadie pI. XXVI-XXVIII; Peterson pI. 15, no. 22. Comment: Scenes of the chase in the desert were frequently depicted on the walls of private tombs. They showed animals in a particularly free style without registers, and this must have required a good deal of practice (cf. DaVies, N. de Garis, The Tomb ofRekh-mi-Re l at Thebes, Vol. 1, New York, 1943, pI. XLIII). This sketch was probably a preparatory drawing for such a scene. Although it reflects the speed and anguish of the hunt, it is less certain in its portrayal of the animals. In depicting the dog, for instance, several attempts have been made in drawing its forelegs.

60.

LION AND MAN (UC 33215)

Limestone. Height: 16.1 em. Width: 12.3 cm. Thickness: 4.6 em. (approx.) Provenance: Not known. Ramesside Period ? a) Drawing of a lion facing right, poised ready to pounce. A line protrudes obliquely downwards from his mouth. He crouches on his front legs with his head down. A base line is indicated. Well above the lion's back is the figure of a man with his left leg advanced, bending slightly forward and with his arm raised. There are two vertical lines either side of him. (Traces of preliminary sketch in red ink, and corrected drawing in black). b) On reverse side, powerful drawing oflion striding out towards right, with his head up and mouth wide open.

42 (Drawmg in red ink). Treated at the Institute of Archaeology. Parallels: Daressy pI. XXVI, no. 25135; Vandier d'Abbadie pI. XXVI, no. 2226, pI. CXI, 2814, CXII, no. 2819.

RO.

Comment: The lion was depicted in various contexts by the ancient Egyptian artist. He was shown in scenes of the chase which decorated the walls of private tombs; he was shown as a symbolic representation of Pharaoh trampling on or devouring his enemy, and signifying his power and might; and he was used on the side of thrones, and as a pedestal. In this instance, the lion on the reverse side of the ostracon, with its mouth wide open, is similar to that shown in Vandier d' Abbadie, op. cit., no. 2226, in which the lion is seen devouring a bound Nubian. This drawing expresses successfully the power and majesty of the animal. On the obverse side of this ostracon, it is more difficult to see what is intended, but it seems likely that the lion is in the attitude of preparing to pounce. He could, of course, be weighed down by something, such as a person standing on his back (cf. Torino 50066. Tosi, M. and Roccati, A., Stele e altre Epigrafi di Deir el Medina, Torino, 1971, p. 290), but because the figure above him is drawn too high up and too far forward along his body, it is probable they are unrelated. The parallel lines either side of the figure may be part of a baldachin, but there is too little to go on to be sure. Likewise, the meaning of the oblique line from the lion's mouth is uncertain; it can hardly represent a leash because it is discontinuous and does not encircle the lion's neck. These drawings are probably an artist's draft for a larger composition.

61.

BABOON (DC 1585)

Limestone. Height: 7.5 cm. Width: 16 cm. Provenance: Amarna. XVIII Dynasty. Outline sketch of a baboon stalking towards the right on all-fours. Its distinctive pronounced eyebrow and long snout are shown. (Drawing in black ink). Bibliography: Peck, William H., Drawings from Ancient Egypt, London, 1978, pI. 108. Pendlebury, J.D.S., The City ofA khenaten , III, London, 1951, p. 228. Samson, J.,Amarna City of Akhenaten and Nefertiti, Warminster, 1978, p. 65, fig. 37. Comment: This is an extremely skilful drawing, for the artist with a few sure strokes has managed to convey the essence of his subject, and for simplicity and economy of line it is probably without equal.

43

62. HEADLESS STANDING MONKEY (?) (UC 33253)

Pottery. Height: 12 cm. Width: 9 em. Provenance: Not known. New Kingdom. Figure of a headless standing monkey (?) drawn frontally with its spindly legs slightly apart and its long tail shown between them. Its left arm is held out at shoulder level with the elbow bent and the forearm and paw hanging down parallel to its body. It holds an oval object in its paw. It has rounded hips and a very large navel. (Drawing in black ink). Comment: This is an unusual piece as very rarely did the ancient Egyptian artist draw a front view. It was not that he was incapable of doing this, as clearly in planning out his sculptures this was done, but in two-dimensional work both humans and animals were invariably shown in profile. An exception to this was the representation of the god Bes, who was introduced from the Near East. Examples of the rare instances where humans are drawn frontally are the women musicians on a fragment of a tomb scene in the British Museum (British Museum, Wall Decorations of Egyptian Tombs, London, 1914, p. 11, pI. 4)~ and the stricken enemy in scenes of Pharaoh smiting his foe; e.g. relief of Tuthmosis III smiting the Asiatics on the seventh pylon at Karnak (Jequier, G., Les Temples Memphites et Thebains des origines La XVIII Dynastie, vol. I, Paris, 1920, pI. 55). Monkeys standing or clambering up d6m palms were frequently depicted on ostraca, but they were drawn in profile with occasionally their heads turned (cf. Vandier d'Abbadie, J., Ostraca Figures de Deir el Medineh, vol. II, 14, Cairo, 1936-1959, pIs. I-III, XCVII-XCVIII). Here it is quite possible that the object held is a d6m nut. Monkeys were also shown standing up and perhaps playing musical instruments in the satirical genre of ostraca (cf. Vandier d' Abbadie, J., ibid. pI. CXVII). For the role of apes (kry) see Caminos, R.A., LateEgyptian Miscellanies, London, 1954, pp. 14,85,228; and Vandier d'Abbadie, J., Les singes familiers dans l'ancienne Egypte (peintures et bas-reliefs), III. Le Nouvel Empire. Revue d'Egyptologie, 18, pp. 143-201. This drawing is probably the work of an artist who was either experimenting or for amusement drew the animal in this way.

a

63. HYENA (UC 33228) Pottery. Height: 7.8 em. Width: 6.6 cm. Provenance: Not known. New Kingdom. Hindquarters of a hyena, facing left, showing its bushy tail, genitalia, and sharply rising back. Its body is covered in long hair. Nose of another animal behind it?

44 (Drawing in black ink).

Parallels: Brunner-Traut (Germany) pI. XL, nos. 130 and 131. Vandier d'Abbadie pI. XXVI, no. 2211 and pI. CXII, nos. 2823 and 2824.

Comment: The ancient Egyptian was familiar with the hyena, as it was mainly in the mountainous and desert areas close to the cultivation and inhabited regions that he roamed in search of food. He was frequently depicted in the tomb decorations of scenes of the chase (cf. Davies, N. de Garis, The Tomb ofRekh-mi-Rerat Thebes, Vol. I, New York, 1943, pI. XLIII), and this ostracon may well have been a practice drawing for such a scene.

45

BIRDS

64. HEAD OF AN OWL (DC 33216) Pottery. Height: 5.3 cm. Width: 5.7 cm. Provenance: Not known. New Kingdom. Well executed drawing of the head of an owl, and parts of other hieroglyphic signs. The head of the owl, phonetic m (Gardiner's G 17), is depicted full fac~ and with many well-observed details: the characteristic facial disk, long beak, and streaked plumage on the crown, tufted on the forehead and speckled on the lower face. There is less to see of the other hieroglyphs, but they include: at the top of the ostracon, the loaf of bread, phonetic t (Gardiner's Xl); the tail of the horned viper, phonetic f (Gardiner's 19); and at the extreme bottom right of the ostracon, part of a feather, phonetic sw (Gardiner's H6). (Drawing in black ink). Pencil mark on inside:

0

Parallels: Brunner-Traut (Cambridge) pI. XXXI, no. 36 (EGA 3858-1943 recto). Peterson pI. 75, no. 144. Comment: This small potsherd probably represents an artist's study of hieroglyphic forms to be used in a monumental inscription. The hieroglyph of the owl has been identified by Whymper as being the Barn Owl (Tyto alba alba) (cf. Whymper, C., Egyptian Birds, London, 1909, p. 34 and coloured plate.)

65.

LOWER PART OF TWO BIRDS (DC 33201)

Pottery. Height: 8.3 cm. Width: 10.8 cm. Provenance: Not known. New Kingdom. Very fine drawing of the lower part of two birds facing right: in front the tail and wing tip of one, and behind the legs and tail of another. A base line is indicated.

46

(Drawing in black ink). Parallels: Brunner-Traut (Germany) p. 126, no. 156.

Comment: The birds depicted here are probably practice drawings of hieroglyphic signs. The bird in front appears to be the owl, phonetic m (Gardiner's G 17), and the bird behind the Egypt~ ian vulture, phonetic J (Gardiner's G1) (cf. Davies, N., Picture Writing in Ancient Egypt, London, 1958, pI. IV, 7 and 1 respectively).

66. CURLEW? (UC 33230) Pottery. Height: 13.9 cm. Width: 13.7 cm. Provenance: Not known. New Kingdom. Summary drawing of a curlew standing and facing right. It has a long slender bill, large round eye and thin legs. The plumage on its crown and back is streaked. (Drawing in black ink). Comment: This bird is a wader and can possibly be identified as a Senegal Stone-curlew (Burhinus senegalensis assimilis) (cf. Meinertzhagen, R., Nicoll's Birds ofEgypt, vol. II, London, 1930, p. 525, pI. XXVI). It is a type resident in Egypt and recorded at various localities in the Delta and Upper Egypt. In this drawing the artist has abstracted its main characteristics - slender bill, long wading legs and plumage markings - and was clearly familiar with it. It is possibly a draft for one of the innumerable birds found in the marsh scenes decorating the walls of the Theban tombs.

67. TWO FALCON HEADS (DC 33203) Limestone. Height: 12.7 cm. Width: 13.5 cm. Provenance: Not known. Heads of two falcons facing right, the one in front with its left wing extended (?) Both show the distinctive dark moustachial streak, white cheeks and round nostrils. (Drawing in red ink).

47 Parallels: Daressy pI. X, no. 25.043 (reverse). Hayes, w.e., Ostrakaand Name Stones from the Tomb ofSen-Miit(No. 7i)at Thebes, New York, 1947, p. 13, pI. IV, 19 and 20. Peterson pI. 26, no. 42. Vandier d'Abbadie pI. LXXVIII, no. 2615. Comment: The falcon was frequently depicted in ancient Egypt as various gods took on its fonn, the most important being Horus. It was in consequence also used as a determinative for both royalty and divinity. These drawings which are deft and well observed (cL Meinertzhagen, R., Nicoll's Birds of Egypt, vol. II, London, 1930, pp. 366 ff.) could be an artist's preliminary sketch for a variety of things: the decoration of a tomb or temple wall, the design of a piece of funerary equipment, or even as an aid to the craftsman making jewellery (e.g. broad collar with falconheaded terminals belonging to a queen of Tuthmosis III from Thebes. Aldred, C., Jewels of the Pharaohs, London, 1971, pI. 65). Falcons were occasionally shown in pairs (cf. Smith, H.S., The Fortress ofBuhen: The Inscriptions, London, 1976, no. 1715, p. 137, pIs. XXXV,1 and LXXVI, 5) and are perhaps to be associated with the tenn I].Jyty meaning 'the two lights' i.e. sun and moon (Wb. 111,15,9-10).

68. TWO IBISES (DC 33255)

Pottery. Height: 13.2 em. Width: 13.7 cm. Provenance: Not known. New Kingdom. Summary sketch of two ibises facing right. The bird on the left stands on a perch, and the one on the right appears to be holding a nbb flail and stands before a papyrus(?) plant on a base line. On the reverse side of the ostracon there is a hieratic inscription. (Drawing in black ink). Inscription: The hieratic inscription in two horizontal lines written in black ink on the reverse is faint and difficult to interpret. In line 1 the beginning is broken; the remainder might perhaps be read ~~J~-~ ~~ ~~ $;. .......... bin 'the bad (child?)', but no single sign is certain. The second line begins with the c bdt 'emmer wheat'. numeral 550, possibly followed by Below there is a fainter line of inscription, perhaps a palimpsest. On the right is a drawing of a large bird facing right, possibly a falcon, apparently seated on a plinth rather than standing. As this is larger than the hieratic signs which follow, it seems more likely to be an independent drawing than part of the inscription, though this is not certain. Of the faint hieratic signs which follow the second may be ~ and the final sign ~ ,but the interpretation remains uncertain.

J'

Parallels: Vandier d'Abbadie pI. LXXXIII, no. 2639 and pI.

exv, nos. 2832 and 2833.

Comment: Although the ibis is extinct in Egypt today, during the dynastic period it inhabited the papyrus swamps, and was frequently depicted by the ancient Egyptian artist. The god Thoth

48 took on its form; it was used as a hieroglyphic sign - determinative in hb 'ibis' and in J]l:zwty '(the ibis-god) Thoth' (Gardiner's G26): and it was represented in the marshland scenes which decorated the tomb walls (cf. Davies, Norman de Garis, The Tomb of J.(en-Amfm at Thebes, New York, 1930, pI. LI). The drawings on this ostracon represent the ibis in its sacred role, and were probably a student exercise, although it is possible the ostracon served a dedicatory purpose.

69.

BIRD ON PERCH? (DC 33254)

Pottery. Height: 12.1 cm. Width: 7.2 cm. Provenance: Not known. New Kingdom. The drawing on this ostracon is sketchy and difficult to identify; it may, of course, be a doodle. At the top near the ring base is a crude figure with a head. This may be a bird, and it appears to be standing on a perch which has a feeding receptacle at its end. Below this is a star and a similar shape to the food receptacle (?) above. The lines at the bottom of the ostracon are impossible to identify. (Drawing in black ink). Treated at the Institute of Archaeology. Comment: The drawing at the top of this ostracon could be a crude depiction of the falcon of Horus on a standard. In the Old Kingdom this was used as a determinative in the writing /jr(w) (Gardiner's G7) and was later used as a determinative of gods and kings. As some of the shapes seem to be repeated on this ostracon, it is possible this is a student's exercise.

70.

VULTURE (UC 33222)

Limestone. Height: 9.8 cm. Width: 11.8 cm. Provenance: Not known. Ramesside Period? Vulture facing right with its neck extended, head down and large wings slightly open. Its horny leg and hind toe are carefully drawn. In its mouth it appears to be holding something which is not easily identifiable. (Drawing in black ink, and object in vulture's mouth filled in with reddish-brown wash). Parallels: Berlin 21435. Brunner-Traut (Germany) pI. XLV, no. 157.

49 Comment: This bird can probably be identified as a Griffon Vulture (Gyps fulvus) (cf. Meinertzhagen, R., Nicoll's Birds ofEgypt, vol. I, London, 1930, p. 62. II). It was common as a hieroglyph: determinative nrt 'vulture', and phonetic mt (Gardiner's G14). It also represented the Goddess Nekhbet of the Upper Egyptian town of EI-Kab. This drawing is unusual in that it does not represent the bird in its usual upright or flying position, but is a complex drawing of it in a different attitude. It is therefore probably an artist's practice drawing, or may perhaps belong to the satirical genre of ostracon.

71. PINTAIL DUCK (UC 33227)

Limestone. Height: 10 cm. Width: 5.6 cm. Provenance: Deir el Bahri. (Deir el Bahri XIX? marked on back of ostracon). ? XIX Dynasty. Summary drawing of a pintail duck in flight, facing right. (Outline drawing in black ink with the head filled in). Parallels: Vandier d' Abbadie pI. XXXVI, no. 2251, pI. CXV, no.2838. See also UC 33209 for pintail duck in flight above leaping bull.

Comment: The pintail duck was one of the most common types of duck in Egypt and was frequently depicted on the walls of tombs and temples. It was used as a hieroglyphic sign, and when in flight represented the ideogram pi 'fly' (Gardiner's G40). It was also frequently depicted in scenes of life in the marshes. This particular drawing may be a trial piece of a hieroglyph, but equally it may be part of a draft for a larger design to be used in the decoration of a tomb or temple wall (cf. Naville, E., The Temple of Deir el Bahari, Part VI, London, 1908, pI. CLXIII).

72. LAPWING? (DC 33220)

Limestone. Height: lOA em. Width: 9.5 cm. Provenance: Deir el Bahri. (Deir el Bahri XIX? marked on back of ostracon). ? XIX Dynasty. Sketchy drawing of a lapwing facing right. The lines beneath the true tail show where it was incorrectly placed at first, and a line above its back may indicate a twisted wing. (Drawing in black ink).

50 Comment: The lapwing was used as a hieroglyphic sign, the determinative rayt 'common folk' (Gardiner's G23-24), and took two forms: either the bird had its wings at its sides, or it had them twisted round one another to prevent it flying away. (See Annales du Service, 26, p. 186, fig. 7). This ostracon, which comes from the Theban necropolis, was probably a student exercise or a practice drawing of one of the artists who worked in the area, for decoration of a tomb or temple wall.

73. GOOSE (DC 33207) Limestone. Height: 10.1 em. Width: 12.8 em. Provenance: Not known. Outline sketch of a goose facing right with its neck extended and head bent to the ground. A base line is indicated. (Drawing in red ink). Treated at the Institute of Archaeology. Comment: The goose was frequently depicted by the ancient Egyptian artist both as a hieroglyphic sign (determinative for gb-goose, and semi-phonetic gb (Gardiner's G38) ), and in scenes decorating tomb and temple walls. One of the earliest paintings is the famous geese panel from the Chapel of Atet at Medum (IV Dyn.). (Smith, W.S., 'The Paintings of the Chapel of Atet at Medum', Journal of Egyptian Archaeology 23, pI. IV). Most often the goose was depicted in agricultural scenes, such as that of the deceased inspecting his flocks (cf. register of geese in the tomb of Menkheperrasonb. Davies, Nina de Garis, The Tombs ofMenkheperrasonb, Amenmose, and Another, London, 1933, pI. XIII). In this painting one of the geese is shown pecking the ground in a similar attitude as the goose on this ostracon. It is quite possible the preliminary sketch we have here is a draft for such a scene.

51

REPTILE 74. CROCODILE (UC 33232) Pottery. Height: 7.2 em. Width: 7.9 em. Provenance: Not known. New Kingdom. Tail and back leg of a crocodile facing left. The dorsal plates are indicated. (Drawing in black ink). Parallels: Brunner-Traut (Germany) pI. XXX, 85b and pI. XLI, 136. Vandier d'Abbadie pI. XXX, no. 228, pI. eL, no. 3003.

Comment: In this drawing the artist has tried to express some of the essential characteristics of the crocodile, such as the keeled dorsal plates and the palmate hind foot (cf. Crocodilus niloticus: Anderson, 1., Zoology ofEgypt, vol. I, Reptilia and Batrachia, London, 1898, pp. 10 ff., pI. I). It may have been a draft to be used in the decoration of a tomb wall, as the crocodile is sometimes depicted in such scenes as the deceased enjoying sport in the marshlands (cf. Save-Soderbergh, T., Four Eighteenth Dynasty Tombs, Oxford, 1957, pI. XIV,A). On the other hand, of course, this could be part of a representation of the god Sobek who manifested himself either as a human with a crocodile head or totally in animal form.

52

INSECTS 75. DUNG-BEETLE (UC 35811) Limestone. Height: 7.1 em. Width: 5.3 em. Provenance: Not known. New Kingdom. Competent drawing of the back of a dung-beetle (Scarabaeus sacer) with its head, legs and body well defined. The elytra are covered with vertical lines and separated from the prothorax which has been filled in. Down the right side of the ostracon is a vertical column of hieroglyphs. (Drawing in black ink). Inscription: 1.

(nlr) a ntr nb tJwy nb l r

2.

. .. .!Jprb ....

!Jt

'The good (god), lord of the two lands, lord who made everything'. '.. kheper .. ' a.

Although not sufficient space has been left for the ny sign, it should undoubtedly have been written here, as th~ was a common epithet of king~ (cf. epithet of Amenophis II, Gauthier, H., Le LivredesRoisd'Egypte, vol. 2, Cairo, 1912, p. 283, no. XXVIII).

b.

It is probable that the {Jpr formed part of the prenomen of a pharaoh.

Parallels: Brunner-Traut (Cambridge) pI. XXXIX, no. 48. Peterson pI. 26, no. 44. Comment: The competence of this drawing suggests it was the work of a seasoned artist, and it may well be a draft for an inscription to be used in the decoration of a tomb or temple wall.

53

76. GRASSHOPPER? (UC 33233)

Limestone. Height: 6.8 em. Width: 7 em. Provenance: Not known. Crude drawing of the head and thorax of a grasshopper (?) facing right, with its large eye, labial feelers and segmented body shown. The lines beneath the insect are difficult to identify, but may represent vegetation. (Drawing in red ink). Treated at the Institute of Archaeology. Parallels: Brunner-Traut (Germany) pI. XLI, 137. Spiegelberg, W., Hieratic Ostraka and Papyri found by J.E. Quibell in the Ramesseum 1895-6, London, 1898, pI. XLIX, no. 10. Vandier d'Abbadie pIs. XXXIII, no. 2242; LX, no. 2246.

Comment: The grasshopper was sometimes depicted amongst the birds and plants on the water's edge in the scenes of the deceased fishing or fowling, which decorated the walls of his tomb (cf. Theban tomb painting of a grasshopper on a papyrus plant. Rossellini, 1., I Monumenti dell Egitto e della Nubia, Part 2, Pisa, 1834, pI. XIV,9). The grasshopper was also used as a decorative motif in the ceiling pattern of the tomb of Neferhotep (no. 50), (Davies, Nina M., Ancient Egyptian Paintings, II, Chicago, 1936, pI. LXXXIV). The drawing on this ostracon is rather crude and suggests it was the work of a student, or perhaps a preliminary sketch to be used in the decoration of a tomb.

77. BEE AND GRASSHOPPERS (UC 33231)

Limestone. Height: 16.4 em. Width: 13.1 em. Provenance: Not known. Drawing of a bee and a grasshopper; the bee on the left is shown in greater detail with transverse stripes on its body, four short legs and feet, very long antennae, and spread wings. The grasshopper is summarily drawn and only the body and the long bent leg are depicted. On the reverse side there is another grasshopper, also summarily drawn showing antennae, long bent leg, and the body marked with longitudinal lines, probably representing its closed wings. (Drawing in red ink).

54 Parallels: For grasshopper see DC 33233. For bee: Vandier d'Abbadie pI. CXLVI, no. 2984; pI. CLVII, no. 3035 (as hieroglyph).

Comment: For discussion on grasshopper see DC 33233. The bee was depicted by the ancient Egyptian artist both as a hieroglyphic sign (ideogram in bit 'bee' and 'honey' (Gardiner's L2) ), and in scenes which decorated the tomb walls. In this instance, because of the position of the wings, it seems likely that this drawing was intended for a tomb scene, and was perhaps the work of an apprentice artist. Scenes of bee-keeping have occurred in tombs (cL Davies, N. de Garis, The Tomb ofRekh-mi-Ret at Thebes, Vol. 1, New York, 1943, pI. XLIX), and in the tomb of Tjenro (no. 101) at Thebes an offering bearer is shown carrying a bowl of honeycombs on which bees settle (Davies, Nina M., Ancient Egyptian Paintings, vol. I. Chicago, 1936, pI. XXXIV).

55

MISCELLANEOUS 78. BOATS (DC 33205)

Limestone. Height: 11.3 cm. Width: 13.1 cm. Provenance: Not known. ? Predynastic or Archaic Period. One large square-shaped boat with circular terminals at prow and stern, and central cabin drawn with wavy lines around the outside, probably indicating it was made of reeds. Inside the cabin is a kneeling figure holding a sceptre. Below this are three smaller sickle-shaped boats, all with steering oars, two with cabins and one with a mast. Above the large boat is one square-shaped boat with mast and steering oar. At the top of the ostracon is a bird standing on a perch. (Drawing in black ink). Comment: The early Nile boats used by the ancient Egyptians were made of bundles of papyrus stalks lashed together. The shape of the hull varied but basically the structure remained the same for a very long time; and even when made of wood retained the same shape. Both squareshaped and sickle-shaped boats similar to those on this ostracon are known from the Predynastic period (cL Gebel el-Arak ivory knife handle. Benedite, G., Le Couteau de Gebel el-Arak, Paris, 1916, p. 9, fig. 9). The sickle-shaped boats were typically Egyptian but it is probable the squareshaped ones with high prow and stern are of foreign origin. (See Winkler, Hans A., Rock-Drawings of Southern Upper Egypt, I, (London, 1938), p. 35, pIs. XXXIII, XXXVII). Papyrus or papyriform boats were frequently depicted both in religious and secular contexts on objects, and in the decoration of tomb and temple walls. They are shown in scenes of the deceased fishing and fowling in the marshes; in the transportation of the deceased across the Nile for burial; in ceremonial processions and in the sun's journey through the netherworld. The scene here probably represents a ceremonial voyage with the king or god seated in the cabin of the large boat, and the smaller craft forming an escort. The bird at the top of the ostracon poses a problem: it may represent the falcon of Horus, and either be an emblem, or if the drawing is incomplete and the bird in fact stands on a serekh, it could be part of the Horus name of King Aha of the First Dynasty. An ivory label found at Nagadeh has a representation of a similar square-shaped boat and HorAha's name on it (cf. Emery, W.B., Archaic Egypt, Harmondsworth, 1971, p. 50, fig. 10). Although several factors point to this ostracon being of Predynastic or Archaic date, it is possible it is the product of a later period as the theme and shapes appear throughout the Pharaonic era.

56

79. ARCHITECTURAL AND FURNITURE ELEMENTS (UC 33251)

Indurate limestone. Height: 8 cm. Width: 9.8 cm. Provenance: Not known. Trial piece of architectural and furniture elements on a rough grid of horizontal lines. On the right side is a badly drawn papyrus column resting on a rounded base, with two vertical lines above the flowering umbel. The drawing on the left is difficult to identify but may be the design for a bed or chair leg with the little figure of the god Bes at its foot. (Drawing in red ink). Parallels: For Bes as furniture element: Brunner-Traut (Germany) pIs. XXV and XXVI; Peterson pIs. 69-70; Vandier d'Abbadie pIs. L-LIV, LVII, CXX-CXXI. Kiosk with papyriform columns: Brunner-Traut (Germany) pI. VI.5. Vandier d'Abbadie pI. LII, 2339.

Comment: The god Bes, who was protector of the marriage bed and women in labour, was frequently represented on the foot of the bed, particularly the marriage bed. Such intimate scenes as the 'lying-in-chamber' are known almost exclusively from the figured ostraca, as examples which appeared for instance in the mural decoration of a woman's chamber are now lost. (See Brunner-Traut, E., 'Die Wochenlaube', Mitteilungen des Instituts fiir Orientforschungen, 3, 1955, p. 24). The sketch of the papyriform column may have been for inclusion in the design of a baldachin or kiosk, perhaps shielding the marriage bed. Despite the grid lines, the drawings on this ostracon are extremely crude and are almost certainly the work of a novice.

80. STANDING MAN AND VARIOUS HIEROGLYPHS (UC 33252)

Limestone. Height: 10.2 cm. Width: 1.5 cm. Provenance: Not known. Trial piece with drawings on both sides of the ostracon.

Obverse side: Top left: Centre:

1) Traces of rectangular wall with square bastions? 2) Traces of basket with handle and decorated with zigzag line near top. 3) Standing man facing right with his left arm stretched out, and his right arm bent. He wears a short wig and wrapover skirt.

57 Centre right: Bottom right:

4) Traces of butcher's block. 5) Traces of what appears to be a seated person holding a flagellum?

Reverse side: Left:

6) Three rectangles of varying size, the bottom one with a series of horizontal lines extending from the left side. 7) Two pairs of sandals, part of a circle and a star.

Right:

(Drawings in black ink). Treated at the Institute of Archaeology. Comment: As all the drawings on this ostracon appear in hieroglyphic writing, and because of the repetition of some of them, it seems possible they were a student's exercise. (1) Ideogram or determinative in inb 'wall' (Gardiner's 036). (2) Phonetic k (Gardiner's V31); the zigzag line near the top may represent a weave in the· wickerwork. (3) The figure of a standing man with his arm outstretched may be a hieroglyphic sign but as the drawing is incomplete and he may have held some attribute, it is not possible to identify the exact sign he represents. (4) Phonetic br (Gardiner's T28). (5) Ideogram in 'be noble' (Gardiner's AS1). (6) The bottom rectangle with lines extending from the left side may represent the piece of cloth with fringe; ideogram or determinative in sZJt 'piece of cloth' (Gardiner's S32). (7) The sandal was used as an ideogram or determinative in lbt 'sandal' (Gardiner's S33), and the star as ideogram or determinative in sbJ 'star' (Gardiner's N 14).

spsz

81. MAN'S FACE AND VARIOUS FIGURES (UC 33241)

Pottery. Height: 8.1 em. Width: 10.2 em. Provenance: Not known. ? Late Period. Trial piece with various figures. From top left to right: 1) 2) 3)

Seated figure of child with sidelock, facing right, with left hand held forward, and right hand at side. Face of a man with a square bead and ears drawn with a frontal aspect. Outline of oracular bust facing right.

Bottom left to right: 4) 5)

Kneeling figure wearing a heavy wig, and facing right. Ibis facing right, and before it two short and one long parallel, oblique lines.

(Drawing in black ink).

58 Comment: The drawings on this ostracon are all motifs which were familiar to the ancient Egyptian artist. (1) The seated figure of a child, although generally shown sucking a finger, was used as a hieroglyphic sign (determinative in 'be young' and 'child' (Gardiner's AI?) ), and also as the representation of the god Harpocrates. (2) The face of a man was also used as a hieroglyphic sign (ideogram of fJ,r 'face' (Gardiner's D2)). (3) For note on oracular busts, see Petrie, W.M.F., Amulets, London,1914, p. 36, pI. XXIX. (4) The kneeling figure is similar in posture to the hieroglyphic sign of a noble squatting with a flagellum, which was used as the determinative for revered persons, especially after personal names (Gardiner's A52). (5) The sacred ibis on a standard was used as a hieroglyphic sign (determinative in hb 'ibis', and determinative in [)ljwty 'Thoth' (Gardiner's G26)). It would therefore seem that these were practice drawings of standard figures, and were perhaps the work of an apprentice who was to be employed in the decorating of a tomb or temple wall.

82. HEAD OF HYENA, CROCODILE AND URAEI (UC 33242)

Pottery. Height: 10.5 em. Width: 9.7 cm. Provenance; Not k'1own. New Kingdom. In the centre of the ostracon facing right is the head and neck of a striped hyena with pointed ears, and eye drawn frontally. To the left of this is a square structure with two rows of uraei above it and one below. The uraei in the top row have sun disks above their heads. At the top of the ostracon is a summary drawing of the head of a crocodile. (Drawing in black ink). Comment: For comment on hyena see UC 33228, and for crocodile see UC 33232. Rows of uraei were used as a decorative element in such things as the frieze of a building, and the design of a composite crown (cL UC 33210). The drawings on this ostracon are not related but all form part of the repertoire of the ancient Egyptian artist, and they probably represent the tentative work of a novice.

59

APPENDIX 1

CLASSIFICATION OF THE MATERIAL OF THE POTTERY OSTRACA

Colin A. Hope

Of the figured ostraca published in this volume, thirty-four are of pottery. In an attempt to see whether an identification of the fabric types of these pottery ostraca could assist with their dating, an examination of the sherds was undertaken. This was done with the aid of a binocular microscope and a hand-Iense of 1 x 10 magnification; the results are given in tabular form in this appendix. In the brief description of fabric of the sherds given here the 'Type' reference which is provided refers to the system of fabric classification adopted by the International Group for the Study of Egyptian Ceramics, which will be described in full by Dr. H-A. Nordstom in the forthcoming volume, An Introduction to Ancient Egyptian Pottery. A brief description of this system can be found in Bourriau, J., Umm el-Ga'ab. Pottery from the Nile Valley before the Arab Conquest, exhibition catalogue, page 14, Cambridge,1981. For the purposes of classification of the fabrics of the New Kingdom (after the reign of Amenophis III), it has been necessary to subdivide the marl fabric designated A4 of that system, to distinguish three similar, though not identical fabrics. A description of these will be found in my chapter on the pottery from Malkata in An Introduction to Ancient Egyptian Pottery. The colour readings provided in the appendix refer to the 1973 edition of the Munsell Soil Colour Charts (Baltimore). It is un fortunate that the specific identification of the original complete shapes of the vessels from which these sherds come is not possible, as this could have enabled a fairly accurate dating. Only in the case of four of these fragments can an identification be proposed, namely catalogue nos. 54, 55, 56,62, which come from typical New Kingdom amphorae. All save one (cat. no. 69) come from restricted vessels Gars). The majority of the fabrics of these pieces belong to the now well-known New Kingdom repertoire; see Hope, Blauer and Reiderer, 'Recent Analysis of XVI11th Dynasty Pottery', to appear in Arnold, D. [ed. j, Studien zur altiigyptischen Keramik, Mainz am Rhein, 1981. Exceptions to this are, of course, the three sherds from Kahun of Middle Kingdom date (cat. nos. 8,41,42) made from a coarsely-tempered Nile silt fabric, and one other piece (cat. no. 81) made from an extremely dense marl which is a true stoneware and is possibly to be ascribed to the Late Period. The material of one other sherd (cat. no. 59) is a type of marl not encountered after the middle of the XVIJIth dynasty, but which was common during the Second Intermediate Period and early XVIIIth Dynasty. The following abbreviations are used in the Tables: M.K. = Middle Kingdom, N.K. = New Kingdom, and L.P. = Late Period.

60 Cat. U.c. No. o.

Type of Sherd

Fabric

Colour

Surface

Self-slipped.

Date

M.K.

8

6557

Lower body sherd from large jar; wheel-made; coarse.

Coarse Nile silt with inclusions of quartz. limeslone and large chaff. (Type A3).

Fired dull reddish-brown (lOR 5/6) on exterior with grey band (2.5YR 3-4/0) below this to interior.

13

33229

Upper body sherd from closed vessel; wheel-made.

Medium·fine ilesilt with quartz. chaff and limestone inclusions. (Type A2).

Fired red (2.5YR 4·5/6) with a clear grey brown core (2.5YR 4/2).

14

33224

Upper body sherd from closed jar; wheel-made.

Medium Nile silt with inclusions of quartz, limestone. some small chaff and black particles.(Type A2).

Fired with blurred grey core, light purplish zones and red oxidised surface zones. (2.5YR 4/6).

Greenish-cream slip.

N.K.

IS

33226

Shoulder sherd from closed, necked jar; wheel·made.

Compact marl with inclusions of quartz and small pieces of limestone. No chaff. (Type M.I b).

Fired pink (2.5YR 4·5/6) with uniform colour throughout.

S~lf-slipped.

N.K.

18

33196

Upper body sherd from closed jar; wheel-made.

Compact marl with quartz and limestone inclusions. (Type M.la).

Fired li~ll red (2.5YR 5-6/6) with lighter outer surface of pale yellow-light yellowish brown (2.:'"\' 6·7/~).

Polished.

N.K.

28

33248

Upper body sherd from jar: wheel·made.

Medium-fine marl with inclusions of quartz and limestnne. (Type M.tb).

Fired light pmklsh-buff (5YR 7/~-b).

Sel f-sli pped.

31

15947

Lower body sherd from small jar; wheel·made.

Medium ile silt with inclu· sions of quartz. chafr. gr\)g and limestone. (Type A2)

'?N.K.

.K.

N.K.

Orange-br\)wn n:terinr (2.5YR cnre and inner surfal·e. with intervening pinkish bane\.

~/b). gre~

34

33243

Lower body sherd from medium sized jar; wheelmade.

Compact marl with quartz and limestone inclusions. (Type M.lb).

Fired evenly pinkish mange (lOR 5/b·'t,).

Thin, dull cream slip.

36

33213

Sherd from near base of large closed jar; wheelmade.

Compact marl with inclusions of quartz, limestone and grog. (Type M.lb).

Fir\'d pinkish bHlwn (2.5YR 5'(1/b) with light bruwn core (7.5YR (l/~).

Sel f-sli pped.

37

33237

Body sherd from tall piriform jar with thin neck. Wheel-made.

Medium Nile silt with inclusions of ~L1artz, chaff and limestone. (Type A2).

Fired muted hr\1\vn (5YR 5/4) at bnth surfaces with red band bClween surface and grey core.

N.K.

.K.

N.K.

.K.

39

33238

Middle to lower body sherd from medium sized jar; wheel-made.

Medium ile silt, containing quartz, burnt out chaff impressions, and limestone. (Type A2).

Exterior fired reddish brown (2.5YR 5/6) with purplish streak on either side of a wide, grey core.

41

6559i

Lower body sherd from large storage vessel with thick wall; wheel-rnade; coarse.

Same as U.C.6557 (cat. no.8) and .C. 6559ii (cat. no. 42). (Type A3).

Same as U.C. 6557 (cat. 110. 8) and U.C. 6559ii (cat. no. 42).

Self·slipped.

M.K.

42

6559ii

Lower body sherd from large storage vessel with thick wall: wheel-made; coarse.

Same as U.C.6557 (cat. no. 8) and U.C.6559i (cat. no. 41). (Type A3).

Same as U.c. 6557 (cat. no. 8) and U.C.6559i (cat. no. 41).

Sci f·slipped.

M.K.

43

33240

Middle body sherd from closed jar: wheel-made.

Medium ile silt with inclusions of quartz, limestone and chaff. (Type A2).

Outer surface brown (2.5YR 4/4), remainder greyish brown.

.K.

61 Cat. No.

U.c. No.

46

2227

47

Type of Sherd

Fabric

Colour

Surface

Date

Cream slip.

N.K.

Sherd frol11 near base of large storage jar (of biconical type); wheelmade.

Medium marl with numerous quartz, and some limestone inclusions. (Type A4.1 b).

Fired pinkish-orange (2.5YR 5(4) with grey core.

33208

From closed storage vessel. Upper part shows wheelmarks, lower two-thirds preserves numerous finger prints.

Highly fired marl; compact with inclusions of quartz, limestone and chaff. (Type A3).

Unevenly fired with several hues side by side: mostly between olive brown (2.5Y 4(4) and light olive brown (2.5Y 5(4). Interior is greyer (IOYR 5/I -5(2) than surface, which is light grey-pale yellow (2.5Y 7(2-4).

48

15946

Sherd from large jar; wheelmade and smoothed.

Dense marl with inclusions of quartz and limestone. (Type A4.la).

Fired orangish-pink (2.5YR 4-5(6) with traces of very faint, light core (SYR 6(4) at lowest part of sherd.

Self-slipped.

5I

26937

Shoulder or base sherd from large storage jar; roughly smoothed on interior and exterior; probably hand-made.

Medium Nile silt with inclusions of quartz, limestone, chaff and? grog. (Type A2).

Fired: outer surface colour orange (2.5YR 4-5(6), then greyish brown streak (? 2.5YR 5(2-4) and wide grey band to interior; all blurred.

Thin cream wash. N.K.

52

33234

Upper body sherd from tall necked piriform jar;

Compact marl with inclusions of quartz and limestone. (Type A4.l a).

Dull grey-brown surface (IOYR 6/2) which penetrates surface unevenly to maximum depth of 1.5 mm, remainder dull pink (2.5YR 5-6(4).

wheel-made.

?

.K.

N.K.

N.K.

53

33236

Middle body sherd from jar; wheel-made.

Medium Nile silt with inclusions of quartz, limestone and some chaff. (Type A2).

Fired reddish (I OR 4-5/6) at surfaces with a purplish zone and grey, blurred core.

Cream slipped N.K. and polished exterior, cracked.

54

33235

Upper body sherd from vessel in 'Amphora ware'.

Dense marl profusely tempered with limestone and quartz. (Type A4.2b).

Fired with blurred grey core, then brownish zones and eventually red oxidised surfaces (2.5YR 4-5(6).

Cream slipped and polished.

55

33206

Shoulder sherd from amphora; wheel-made.

Dense marl with inclusions of quartz, limestone and some chaff. (Type A3).

Fired pinkish (7.5YR 5-6(4), with exterior surface green (2.5YR 6/2).

56

33209

Lower body sherd from amphora; wheel-made with irregular hand-smoothed interior.

Dense marl with inclusions of quartz and limestone. (Type A4.2b).

Fired reddish-brown with wide, blurred grey core. (No. colour readings, too dirty).

59

33259

Body sherd from large jar; wheel-made_

Fairly coarse marl containing many grains of quartz, some chaff and calcite. (Type B).

Fired several shades of grey, pinkish at outer surface, and cream interior. (No readings).

Yellowish-cream Early XVIII slip. Dyn.

62

33253

Upper body sherd from closed vessel, possibly an amphora; wheel-made.

Marl with inclusions of quartz, limestone, some chaff and? grog. (Type A4.2b)_

Clear, wide, grey brown core (7.54(2-4) with narrow red oxidised zones at surfaces (2.5YR).

Cream slipped_

N.K.

63

33228

Thick body sherd from large closed jar; wheelmade.

Very compact marl with small inclusions of quartz and limestone. (Type A4.lb).

Fired brick red (2.5YR 4-5/8) with a narrow darker blurred core near to inner surface.

Dull cream slip.

N.K.

64

33216

Body sherd, perhaps from an amphora: wheel-made.

Hard fired coarse marl with many inclusions of limestone and quartz. No visible chaff. (Type A4.3).

Fired'with blurred grey-brown core and thin red urface zones (2.5YR 5/6).

Cream-slipped.

N.K.

N.K.

N.K.

Cream slipped and polished.

-----

-

N.K.

---

- -

-

62 Cat. No.

U.CNo.

Type of Sherd

65

33201

Upper botly sherd from jar; wheel-made.

Compact marl with small inclusions of quartz and limestone. (Type A4.1 b).

66

33230

Upper body sherd from medium-large, closed jar; wheel-made.

68

33255

69

Fabric

Colour

Surface

Date

Fired with oxidized zones of pink (lOR 4-5/6) at surface, and lighter core of greyishbrown (5YR 5-6/3).

Cream coating, probably slip.

N.K.

Medium Nile silt with a relatively dense matrix and inclusions of quartz, chaff and small amount of Iimestone. (Type A2).

Fired with blurred red zone at exterior surface (lOR 5/4)under surface of red (2.5YR 5/6), with dark grey core (5YR 4/1).

Self-slipped.

N.K.

Shertl seems to have originated from medium sized closed storage jar, and to have been reused. Original vessel had modelled decoration possibly in form of an ann and may have been a Bes or feminoform jar; wheel-made.

Coarse Nile silt containing grains of quartz, chaff, limestone and grog. (Type A3).

Purplish-grey core separated from exterior by red streak. Oxidised zone on exterior surface, fired muted brown (2.5YR 4-5/6).

Self-slipped.

N.K.

33254

Base and wall from large bowl with part of original, applied ring base; wheelmade.

Marl with inclusions of quartz, limestone, chaff (?), and possibly grog. (Type A3).

Fired light green at surface (2.5Y 6-7/2) with yellow, wide core (2.5Y 7/2-4).

74

33232

Body sherd froIll closed vessel: wheel-made.

Dense Nile silt with inclusions of quartz, limestone and some chaff. (Type Al or fine A2).

Wide, clear grey core (nearest 5YR 5-6/1) with narrow oxidized zones at surface fired red (2.5YR 5/6).

81

33241

Midrlle body sherd from large closed vessel: wheelmade.

Exceptionally dense marl with inclusions of quartz, limestone and? grog, but no chaff. Small black grits which seem like stone.

Fired red (lOR 4/6-8) with buff surface zones (7.5YR 5/4) clearly defined. No core.

82

33242

Upper body sherd from closed jar; wheel-made.

Fine Nile silt with small inclusions of quartz, Iimestone and some chaff. (Type A).

Fired with a clear wide grey core and red oxidized surface zones. (2.5YR 5/6).

N.K.

Self-slipped.

N.K.

~

Dull cream slip.

L.P.

N.K.

63

APPENDIX 2 SKETCHES ON POTTERY VESSELS

Colin A. Hope

In most previous studies of figured or pictorial ostraca, it has been stated that the drawings now preserved on pottery were applied to potsherds, i.e. fragments of broken vessels, rather than to complete vessels. (See most recently, Brunner-Traut, E., Egyptian Artists' Sketches. Figured Ostraka from the Gayer-Anderson Collection in the Fitzwilliam Museum, Cambridge, Istanbul 1979, p. I). While this is certainly true of most of the surviving examples, there is some evidence that sketches or drawings were actually made on complete vessels. This evidence is provided by two vessels found by Petrie at Amarna, and two unproven anced sherds in the Petrie Museum (see pIs. I-III). The most interesting of these is undoubtedly the remains of a jar covered with sketches. This vessel was exhibited by Petrie in an exhibition of antiquities from Amarna in 1892 and referred to in the catalogue of the exhibition (Catalogue of Antiquities from Tel el Amarna, Upper Egypt, excavated by W.M. Flinders Petrie, 1892, p. 15); it is published in his Tell el A marna, London, 1894, on pI. 1.4 and p. 11. (See also Baud, M., Le caractere du dessin en Egypte ancienne, Paris, 1978, p. 82 and pI. 85c). Unfortunately no complete description of the vessel was provided and only the horse's head and the crowned falcon are referred to. The present location of the vessel is unknown. The second vessel from Amarna carries only one drawing, that of a hippopotamus standing on a low shrine with a background of a papyrus thicket. This vessel was exhibited at the same exhibition as the preceding one and mentioned on page 5 of the catalogue; it is otherwise unpublished and its present location is unknown. Representations of the sacred hippopotamus are not commonly encountered on the pictorial ostraca (but see Hayes, W.C., Ostraca and Name Stones, New York, 1942, pI. VIII, 42; Brunner-Traut, E., Die altiigyptischen Scherbenbilder, Wiesbaden, 1956, pI. XLI, 134, p. 116 with references; Daressy, M.G., Ostraca, CGC, Cairo, 1901, pI. XIV, no. 25.064 and p. 14; Simpson, W.K., The Face ofEgypt: Permanence and Change in Egyptian Art, New York, 1977, no. 64). The hippopotamus is one of the animals used in the animal stories (Brunner-Traut, E., Altiigyptische Tiergeschichte und Fabel, Darmstadt, 1968, figs. 8 and 21, and Egyptian Artists' Sketches, Istanbul 1979, pp. 11-18). The two sherds from the Petrie Museum (UC 35910) are from one jar and join to form three-quarters of a figure wearing a knee-length kilt with a tail, and grasping a stick in his left hand. It is possibly a representation of Bes. Unlike the two vessels from Amarna, which have painted sketches/drawings, the figure on these sherds is incised into the fabric of the vessel, and this was done before the vessel was fired.

64 While the first of the jars from Amarna described above clearly carries artists' sketches, the drawing on the second vessel is of a different type altogether and may have been related to the function of the vessel. The vessel belongs to a category of short-necked jars with globular bodies which occur during the XVIIIth dynasty; the treatment of the papyrus marsh is reminiscent of that of similar motifs on the blue-painted pottery. Depictions of deities other than the Solar Disc at Amarna, and not on amulets, are encountered in the wall paintings from the Workmen's Village (Bes: Kemp, RJ., 'Wall Paintings from the Workmen's Village el-