By William C. Hayes
7 5/8 x 10 1/4", 399 pp + fold-out map at again, Harper & Brothers in cooperation with the Metropolitan Museum of artwork, 1953 first. half I of a 'background for the learn of the Egyptian Antiquities within the Metropolitan Museum of Art'. through William C Hayes.
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Additional resources for The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art From the Earliest Times to the End of the Middle Kingdom
1-4ÿ4 in. v FS r jf PERIOD JZ t V r « II. PREHISTORIC 14 EGYPT found, the broad-headed, square-jawed Tasians differed in physical type from the later prehis¬ toric people of Egypt, the form of burial seen at Deir Tasa— the shallow grave, the contracted position of the body, and the types of objects placed in the grave— remained the standard throughout the rest of Egyptian prehistory and for common folk well down into the dynastic period; and the ideas on death, immortality, and the life after death to which these late Neolithic graves already bear witness were held by the people of Egypt throughout the whole of their ancient history and were responsible, directly or indirectly, for the creation and preservation of the majority of the works of Egyptian art which have survived to the present day.
THE DYNASTIC EARLY 38 PERIOD 4. Seals and Seal Impressions / NM I 1 . O' FIGURE 27. Cylinder seal in mounting mon kingly titles: “King of Upper and Lower Egypt,” written with the sedge plant and the bee (l-\&),2 and “he of the Two Goddesses” (or, “Two Ladies”), written with the vulture of the goddess Nekhabet of Upper Egypt and the cobra, or uraeus, of the goddess Udot of Lower Egypt (ÿN£). ” These, with two other names, his “Golden Horus name” ( ) and his personal name as the son of the sun god Rec, later went to make up the king’s complete protocol.
The arrow, which has been driven cleanly through the body of the warrior from front to back, is tipped with a chisel-edged blade of hard stone. We can hardly doubt that the bow which launched the shaft was of Upper Egyptian make and the archer a south¬ erner in the service of a victorious Horus king of Hierakonpolis or Thinis. Indeed, it was prob¬ ably in one of these two places that the palette was made. The realistic method of representation em¬ ployed here— the fallen enemy transfixed with a weapon and his death thus literally explained— is unparalleled on other monuments of this class by the circular grinding space, or “mortar,” in the middle of the field, here enclosed by the coiled, serpentine body of a fanciful, dragonlike animal.