Art of

Ancient Egypt

Art of

Ancient Egypt

Written by Louise Cameron, Marianne Cavanaugh, Mariel Gonzalez, Emily Horton, Andréa Morrill, Anne Treeger, Lisa Stelling-JokischWith assistance from Sid Goldstein, Ann BurroughsEdited by Kate WeigandDesigned by Lauri Kramer© 2005 Saint Louis Art Museum

Cover Image: Mummy Mask; Egyptian, Dynasty 19 (1307–1196 B.C.); plaster, linen, resin, glass, wood, gold, and pigment; 21 1/16 x 14 9/16 x 9 3/4 inches; Friends Fund and funds given by Mr. and Mrs. Christian B. Peper, Mrs. Drew Philpott, the Longmire Fund of the Saint Louis Community Foundation, The Arthur and Helen Baer Charitable Foundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M. Getty, by exchange, Florence Heiman in memory of her husband, Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs. G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory of Donna and Earl Jacobs, Friends Fund, by exchange, and Museum Purchase 19:1998

The materials in this curriculum packet are designed to be used by students of all ages and their teachers.The curriculum packet contains

• Posters of twelve artworks from the collection of the Saint Louis Art Museum. Each poster has information about the work of art and suggested questions for discussion with younger and older students.

• CD of the twelve images and additional supplementary material

• Teacher’s guide with maps, images, teaching suggestions, an annotated list of source materials on ancient Egypt, and a glossary of terms used in the guide

We encourage classes to visit the Saint Louis Art Museum to view the works in this curriculum packet.

Tours are free and may be scheduled for school groups (prekindergarten through college) as well as forother institutions. All groups, whether led by a Museum docent or self-guided, must preregister withthe Museum to arrange a tour or reserve a time in the galleries. Allow at least four weeks’ notice.

To schedule a tour, complete the tour request form on the Museum’s website at www.slam.org or telephone the Tour Hotline at (314) 655-5484.

32

The dependable inundation of the Nile, along with the

area’s physical geography and its centralized political

control, gave Egypt stability that was unique in the

ancient world. Some historians believe this stability

produced a ponderous artistic tradition with little

variation; others perceive Egyptian art as a dynamic

tradition that accepted external influences and adapted

them to its use.

During Egypt’s prehistory, a thousand years before

the invention of writing, smaller tribes consolidated in

two major kingdoms that followed the flow of the Nile

from south to north. The kingdoms were Upper Egypt,

which occupied the long narrow Nile Valley, and

Lower Egypt in the Nile Delta area. Around 3200 B.C.,

King Menes united the two areas under his rule and

established a system of divine kingship that lasted several

thousand years until Cleopatra’s death in 31 B.C. The

Old Kingdom (3200–2195 B.C.) was a time of political

stability during which the guidelines and formulas that

governed Egyptian art were established.

Dating back to the Pre-dynastic period, Vessels

(poster 1) are among the oldest and most numerous

finds in Egyptian burials. As an important element

in early tombs, stone vessels held foodstuffs and liquids

for the soul of the deceased. These objects of daily life,

unearthed from graves and shrines in ancient cemeteries,

show the skill and fine sensibilities of ancient artisans.

Sculpted figures from the Old Kingdom follow a formula.

They are idealized, and even small figures project a

monumentality of form. Wooden figures were often

placed in tombs so that the ba (soul) and ka (vital force

of the deceased) could identify the tomb. The small

wood sculpture of Striding Man (poster 2) in his starched

kilt seems to be frozen in motion. His features reflect

a skillful sculptor’s use of the formula to produce an

image that is not a portrait but rather the generic image

of a court official.

About a century and a half of instability followed the

demise of the Old Kingdom. The rise of a royal ruler

from Thebes ushered in the Middle Kingdom around

2000 B.C. The art of the Middle Kingdom is characterized

by meticulous craftsmanship, brutal strength, and a

more naturalistic approach. Hippopotamus (poster 3)

is a realistic rendering of a huge animal that lived in

the Nile marshes. Modeled of faience, this hippo is

accurate in every detail, from its face to its posture

and the Nile plants drawn on its body. The Figure of

a Woman (poster 4), also from the Middle Kingdom,

has a stern expression, and her linen gown suggests

hips and knees underneath the cloth.

The invasion of the Nile Delta by the Hyksos brought

an end to the Middle Kingdom and caused another

intermediate period of Egyptian decline. By 1570 B.C.

Thebes again produced a royal family strong enough to

expel the Hyksos and introduce a new period of power

and prosperity. During this New Kingdom, Egypt

engaged in military campaigns that extended its influence

well beyond previous borders. The arts flourished, and

they displayed sophistication, elegance, and luxury. The

tombs in the Valley of Kings were carved out of rock

walls, and monumental temples were built at Luxor

and Karnak. The New Kingdom included the reigns

of Pharaohs Akhenaten, Tutankhamen, and Rameses

the Great. The Mummy Mask (poster 5) was created

to fit over the head of a noblewoman possibly from

the court of Rameses the Great. The mask portrays

her youth and beauty for eternity.

The decline of the New Kingdom was followed by

another time of unrest. The Mummy Case of Amen-

Nestawy-Nakht (poster 6) was created during this

interim period. The style of painting used on the

case invokes the beautiful images popular in New

Kingdom tombs.

The Late Period began in the eighth century B.C, when

the African kings of Nubia ruled all of Egypt. As if to

IntroductionTable of Contents

Introduction 3

Map of Ancient Egypt 5

Vessels 6

Striding Man 7

Hippopotamus 8

Figure of a Woman 9

Mummy Mask 10

Mummy Case of Amen-Nestawy-Nakht 11

Butchering Scenes, Tomb of Prince Mentuemhat 12

God Horus 13

Set of Canopic Jars for the Royal Scribe Khera 14

Shabti of Keb-It 15

Nefertem 16

Cat 17

Social Studies Teaching Suggestions 18

Fine Arts Teaching Suggestions 19

Kinetic/Performing Arts Teaching Suggestions 20

Science and Math Teaching Suggestions 21

Communications Arts Teaching Suggestions 23

Glossary of Egyptian Terms 24

Suggested Resources 25

Useful Websites 26

Notes 27

54

MEDITERRANEAN SEA

RED SEA

Bubastis

Memphis

Nile River

Nile Delta

LOWEREGYPT

UPPEREGYPT

Thebes/Luxor

KarnakValley of the Kings

Africa

Egypt

AsiaEurope

AtlanticOcean

Indian

Ocean

5

Map of Ancient Egypt

ANCIENTEGYPTMap shows sitesreferred to in the text

restore Egypt’s traditional greatness, the art of the Late

Period harked back to Old Kingdom styles. The imitation

of earlier styles can be seen in Butchering Scenes, Tomb

of Prince Mentuemhat (poster 7). These relief carvings

are in a style that was popular two thousand years earlier.

Mentuemhat’s tomb provides the first example of the

combining of styles of Egyptian art.

After the short renaissance of the Late Period, Egypt

was invaded several times, with periods of self-rule

interspersed. In 525 B.C. the Persians annexed Egypt

to their empire, and they maintained power until the

arrival of Alexander the Great in 332 B.C. Alexander’s

empire was divided among his followers after his death,

and Ptolemy Lagus, one of his generals, claimed Egypt

in 305 B.C. The Ptolemaic dynasty ruled Egypt until the

death of Cleopatra in 31 B.C.

Throughout all the kingdoms and periods in the history

of ancient Egypt, the pharaoh was the unifying force

politically, economically, and religiously. As king and

god, he wielded power over the natural world and

annual cycles such as the flooding of the Nile. Preserving

the pharaoh’s body for eternity guaranteed that the

cycles would continue. The God Horus (poster 8) is

closely identified with the pharaohs, who were thought

to rule as Horus on earth. This statue of the god in the

form of a falcon wears the pharaonic symbol of unifi-

cation, the double crown of Upper and Lower Egypt.

The Egyptians understood the process of decomposition.

Before a body could be mummified the abdominal

organs had to be removed. Each organ was dried,

washed, and wrapped. Certain organs were placed in

jars. The Set of Canopic Jars for the Royal Scribe

Khera (poster 9) dates from the Late Period. Each jar

has one of the four sons of Horus as its protector god.

Imsety guards the liver, Hapy the lungs, Duamutef the

stomach, and Qebhesenuef the intestines.

The practice of mummification quickly spread through

the upper class to the middle class, resulting in the

development of vast tomb complexes. The majority of

artifacts that survive from ancient Egypt exist because

they were installed in elaborate tomb structures built

to ensure the deceased comfort in the afterlife. The

Shabti of Keb-It (poster 10) was placed in a tomb to

answer for the deceased when called to work in the

fields in the next world. With legions of shabtis to

provide labor for the deceased, he or she could enjoy

the pleasures of this life extended into eternity.

Gods oversaw every aspect of life for the ancient

Egyptians and were often the protective deities of cities.

Nefertem (poster 11) was the god of the city of Memphis.

The Delta town of Bubastis had Bastet as its patron

goddess. The cat was the sacred animal of Bastet, and

huge cat cemeteries have been found around the city.

The Saint Louis Art Museum’s Cat (poster 12) is a

large hollow-core bronze statue. Similar figures were

used as sarcophagi for mummified cats that honored

the goddess. This one was probably a votive dedication

for her temple.

In his writings on Egypt, Herodotus, a Greek historian

who lived in the fifth century B.C. and traveled all over

the ancient world, noted that no other country possessed

so many wonders or had so many traditions that defy

description. The objects selected for this curriculum kit

are not only important works of art that can be enjoyed

in their own right, they also provide information on the

social structure and religion of ancient Egypt. By tracing

the timeline of Egyptian history through these works

from the Museum’s collection, students and their teachers

can become involved first hand in the exploration of a

fascinating ancient culture.

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Ancient Egyptians believed in an afterlife that mirrored

life on earth. Images of the deceased, his family, and

his servants were often included among items placed in

graves. This statue of the deceased is unusual because

it is in such fine condition, even though it is more

than four thousand years old. Wooden statues from

Egypt’s Old Kingdom were usually severely damaged

by rot and insects, or they were destroyed by tomb

robbers. This figure, probably a nobleman or official,

was a survivor. He strides forward while grasping the

loose end of his pleated kilt. The detailed workmanship

includes hands with delicately carved fingernails.

For younger studentsUse adjectives to describe how this man looks.

Where do you think he is going?

For older studentsDescribe the Striding Man’s costume and hairstyle.

If you didn’t know how old this figure is, would youguess it is ancient or modern? Why?

2

Striding Man

Egyptian, Dynasty 6 (2323–2150 B.C.)

wood, ebony, plaster, and paintheight: 16 inches Friends Fund 1:1986

Ancient craftsmen made these elegant stone containers

with hand-powered tools. Drills, hammers, chisels,

and files were used to form the containers from blocks

of hard stone. To smooth the surfaces, craftsmen

rubbed them with something rough like sand. The

variety and complexity of the containers’ shapes and

their polished finish tell us that these ancient crafts-

men were very good at their jobs. For thousands of

years Egyptians placed stone bowls and jars similar

to these examples in tombs. They filled the containers

with foods, drinks, and oils so the ka, or life force, of

the deceased would not go hungry in the afterlife.

For younger studentsWhat colors do you see on these containers?

If you were going to use these containers, what food or drink would you put in each?

For older studentsCompare one of these vessels to a modern example from your home or classroom. How are the two similar?How are they different? Consider materials, shapes,colors, and usage.

Leaving food for the deceased was an importantfunerary custom for ancient Egyptians. What are some of the customs associated with funerals in our society?How do these customs compare to those of theancient Egyptians?

1

Vessels

Egyptian, Pre-dynastic period (3100–2920 B.C.)–Middle Kingdom (2040–1640 B.C.)

stone, slate, breccia, and calcitetallest dimension: 6 11/16 inches; widest dimension: 9 1/2 inchesMuseum Purchase 296:1916, 209:1924, 26:1924, 208:1924, 142:1921

98

Itef, whose name is inscribed on this sculpture’s base,

stands at attention with her long, delicate arms held

at her sides. She wears a lightweight linen dress with

wide straps over her shoulders. An enormous wig

frames her delicate face. Two bound tresses that tuck

behind her ears end in spirals. The stern face probably

is not a portrait of Itef since Egyptian sculptures

from this time did not portray women as individuals.

From the inscription we conclude that this is most

likely a funerary sculpture commissioned by a mother

for her daughter.

For younger studentsShow with your hands how big you think this sculptureis, then check the measurements in the informationabove. Were you correct?

Itef’s mother wanted to remember her. What are someways we remember people today who have died?

For older studentsCompare this figure of a woman with the Striding Man(poster 2). How are they alike; how are they different?

What can you deduce about the appearance of womenin ancient Egypt from looking at this sculpture?

4

Figure of a Woman

Egyptian, Dynasty 12 (1991–1783 B.C.)

limestoneheight: 6 1/2 inches Museum Purchase 30:1924

We think of hippos as cute and playful, but our

impression comes from what we see at the zoo.

In ancient Egypt, herds of hippos were a threat to

farmers’ crops. Hippos became associated with chaos

and evil, and the first pharaohs hunted them in the

marshes. Small sculptures of hippos were placed in

tombs as reminders of the Egyptians’ love of hunting.

At least one leg was broken on each tomb hippo in

order to make the animal harmless in the afterlife.

The Saint Louis Art Museum hippo was molded in

faience, a glazed crushed quartz. Copper salts in the

glaze created the bright blue or blue-green color when

the piece was fired. On the hippo’s body the crafts-

man painted lily plants that appear as a giant tattoo.

For younger studentsMake a list of words that describe this hippo.

If you were going to name this hippo, what namewould you choose?

For older studentsWhat other animals are symbols of evil in art or literature?

How big do you think this hippo statue actually is? Check your answer against the measurements above. How close were you?

3

Hippopotamus

Egyptian, Dynasty 13 (1794–1648 B.C.)

faience3 3/4 x 7 1/4 x 2 7/8 inchesFunds given by Miss Martha I. Love 242:1952

1110

Amen-Nestawy-Nakht, a priest of Amun, was buried

in this cartonnage, or painted plaster case. The resin-

soaked linen strips that wrapped his body and the

hard, shell-like cartonnage provided protection. The

painted decorations, which contain both pictures and

hieroglyphic writing, illustrate the deities who would

escort the deceased into the afterlife and protect him

for eternity. In the top register, or strip of painting,

Amen-Nakht is led by the gods Thoth and Horus to

meet Osiris, god of the underworld. In the bottom

register, Amen-Nakht has passed the tests of piety

and purity and is being anointed by Horus and

Anubis as he is received into the next life.

For younger studentsThe pictures on this case tell a story. Use the pictures andyour imagination to tell the story in your own words.

If you could open this case what would you find inside?

For older studentsThe pictures on this case tell a story. How many different characters can you find? Who are they andwhat are they doing?

Compose a list of questions you have about mummies and a list of places you would go to find the answers.

6

Mummy Case of Amen-Nestawy-Nakht, c.900 B.C.

Egyptian, Dynasty 22

linen, plaster, and pigment67 x 16 x 14 inchesGift of Mr. and Mrs. Barney A. Ebsworth for the children of St. Louis 109:1989

X-ray of Amen-Nakht

This mask, which would have covered the head and

shoulders of a young woman’s mummy, is amazingly

lifelike. The combination of glass inlaid eyes, a face

covered with gold, and a realistic wig is startling. The

skilled craftsman who fashioned the wig out of thick

resin carefully cut and modeled the plaits of hair in

the latest style. The colored glass used in the eyes and

to decorate the diadem, or hair ornament, was costly

and rare and demonstrated the young woman’s

wealth. In each hand she holds a wooden amulet to

signify strength and welfare. A delicate scene carved

in relief on her arms shows her successful ascent into

the afterlife on the boat of the Great God Osiris.

For younger studentsWhat colors do you see on this mask?

Make up a story about this woman based on what you can see.

For older studentsIf you could talk with the woman portrayed in thismask, what would you say to her or ask her?

This object, like almost everything known to us fromancient Egypt, came from a tomb. How do you feelabout displaying tomb objects in a museum?

5

Mummy Mask

Egyptian, Dynasty 19 (1307–1196 B.C.)

plaster, linen, resin, glass, wood, gold, and pigment21 1/16 x 14 9/16 x 9 3/4 inchesFriends Fund and funds given by Mr. and Mrs. Christian B. Peper,Mrs. Drew Philpott, the Longmire Fund of the Saint LouisCommunity Foundation, The Arthur and Helen Baer CharitableFoundation, an anonymous donor, Gary Wolff, Mrs. Marjorie M.Getty, by exchange, Florence Heiman in memory of her husband,Theodore Heiman, Ellen D. Thompson, by exchange, Dr. and Mrs.G. R. Hansen, Malcolm W. Martin, Sid Goldstein in memory ofDonna and Earl Jacobs, Friends Fund, by exchange, and MuseumPurchase 19:1998

1312

The ancient Egyptian god Horus, represented as a

falcon in this sculpture, stands motionless with his

wings perfectly folded at his sides. He stares into the

distance with a deep, intense gaze. On his head, he

wears the double crown of Upper and Lower Egypt

as a symbol of his power and close association with

the pharaoh. Gods in Egyptian mythology are often

represented as animals. Horus is shown as a falcon

because he is the god of air and sky. In ancient Egypt

many small, bronze statues of gods, such as this one,

were produced as votive statues. Votive statues were

dedicated to the gods and kept in homes or in chapels

to worship a particular god.

For younger studentsMake a list of adjectives that describe this falcon.

Use your imagination to create a story about his life:What is he doing? Where did he come from? Wherewill he go next? Where does he live?

For older studentsThere are other images of animals in this packet, eachsymbolizing different aspects of ancient Egyptian life ormythology. Compare one of them to the image of the falcon, and discuss the similarities and differences inthe way they are represented and the purposes forwhich they were created.

Many cultures associate animals with leaders or gods.What are some of these animals?

8

God Horus, 664–30 B.C.

Egyptian, Late Period–Ptolemaic dynasty

bronzeheight: 6 1/4 inchesGift of Miss Cornelia Scott in memory of her brother, George Eaton Scott 27:1939

This grisly butchering scene is carved into limestone

in crisp detail. While butchers are cutting up bound

cattle, an assistant carries off hearts and entrails in

a large bowl. One butcher draws a sharpening stone

from his belt and uses it on his machete-like knife.

All of the elements in these scenes read as clearly

as the hieroglyphs, or writing, which inform us that

the choicest bits of meat are being prepared for

Mentuemhat. Ancient Egyptians prepared food, both

real and represented through art, for the deceased,

and Mentuemhat would have appreciated having a

good supply of meat in his next life. The subject

matter of this relief sculpture tells us that

Mentuemhat was very important.

For younger studentsHow many people do you see in this scene? How many cattle?

Make up a story about what will happen next.

For older studentsWhy do all the people in the scene look alike?

If the ancient Egyptian afterlife was a copy of life on earth, what else would the deceased need in his or her tomb?

7

Butchering Scenes, Tomb of Prince Mentuemhat, c.680–650 B.C.

Egyptian, late Dynasty 25–early Dynasty 26

limestone66 7/8 x 16 inchesMuseum Purchase 1:1958

1514

Would you do chores if you could have a substitute

do them for you? Ancient Egyptians thought that in

the next world they would be required to work in the

fields to help provide an everlasting supply of food.

They also believed that shabtis, small figures placed

in tombs, could substitute for them. Some tombs had

hundreds of shabtis, one to work each day of the

year. Shabtis hold farm tools and usually bear a

hieroglyphic inscription from the Book of the Dead

that reads in part “O shabti, if the deceased is called

upon to do any of the work required . . . you shall

say ‘Here I am, I will do it.’” The mottled colors on

this shabti’s surface were caused by the firing of the

faience material from which it is made.

For younger studentsSee if you can pose exactly like this shabti.

Describe some chores you are expected to do. Whattools would a shabti need to do each of those chores?

For older studentsDescribe this shabti to a friend who is not looking at it.Then show them the image and ask if you did a goodjob of describing details.

Shabtis were substitutes in the next world. Give someexamples in our culture today of people who substitute for others.

10

Shabti of Keb-It

Egyptian, Late Period, Dynasty 25 (712–657 B.C.)

glassy faienceheight: 6 3/8 inchesMuseum Purchase 29:1924

These canopic jars were found in the tomb of a scribe

named Khera. The jars still hold some of the internal

organs that priests or embalmers removed when they

mummified Khera’s body. To keep these organs from

decay, the priests or embalmers dried, washed, and

wrapped them. The organs were then placed in these

jars and encased in resin—a tar-like material. If you

could look inside the jars today, you would see only

the solid, black resin that surrounds the wrapped

organs. The ancient Egyptians believed that the gods

known as the sons of Horus would protect the

organs for eternity. The tops of the canopic jars show

these gods. The jackal-headed god, Duamutef, guards

the stomach. Hapy, the baboon-headed god, protects

the lungs. The human-headed god, Imsety, watches

over the liver, and Qebhesenuef, the falcon-headed

god, guards the intestines. The hieroglyphs on the

front of the jars are prayers to the gods.

For younger students Choose one jar and compare it to the others. Include similarities and differences in your comparison.

How do you think these jars were made? (See the back of the Vessels poster [poster 1] for clues.)

For older studentsHieroglyphic writing contains pictures of objects thatancient Egyptians saw around them everyday. Whatobjects can you recognize in the hieroglyphs?

Using what you already know about the ancientEgyptians’ beliefs regarding the afterlife, make up a statement that could appear on the front of thesecanopic jars.

9

Set of Canopic Jars for the Royal Scribe Khera

Egyptian, Late Period (712–332 B.C.)

alabastertallest dimension: 16 inches; widest dimension: 7 inchesMuseum Purchase 210–213:1924

1716

12

Cat

Egyptian, Dynasty 25–26 (712–525 B.C.)

bronze14 3/8 x 5 3/4 x 11 1/8 inchesMuseum Purchase 5:1938

The ancient Egyptians revered cats and made many

sculptures of them. Some hollow cat sculptures were

used as sarcophagi for cat mummies brought as

offerings to the goddess Bastet, whose sacred animal

was the cat. In addition, hundreds of bronze cats

were manufactured as offerings to the goddess.

This cat’s erect ears and taut muscles are very realistic.

Its eye sockets, which were once inlaid with shell,

rock crystal, or glass, are now empty. Some cat

sculptures were decorated with gold jewelry,

particularly necklaces and earrings. Over fourteen

inches tall, this cat is almost life-sized and is one

of the largest examples known today.

For younger studentsDo you think this cat looks like a real cat? Why or why not?

Make up a story about this cat. How did it get to the Museum?

For older studentsDescribe this cat to a friend who is not looking at the image. What adjectives best describe the cat?

What ideas do we have about cats in our modern society? How are those ideas different from the ones of ancient Egyptians?

This silver figure strides forward, his left arm clutching

a sickle-shaped sword to his chest. His head tilts

upward, balancing his outrageous lotus and feather

crown. This crown was the emblem of Nefertem, major

god of the ancient city of Memphis. Nefertem’s image

was often painted on mummy cases along with other

gods. When represented in sculpture he wears a kilt

and a false beard and holds a scepter or sword, all

signs of a king. Nefertem was one of the forty-two

deities who sat in judgment in the hall of truth to

review the life of the deceased. This group witnessed

the weighing of the heart against the feather of truth.

The silver used to make this small sculpture was a

very precious material in the ancient world, just as

it is today.

For younger studentsSee if you can stand in the same pose as Nefertem.

Nefertem’s crown shows that he is an important figure.What people in our culture wear headdresses or hatsthat help identify who they are?

For older studentsCompare the image of Nefertem to that of the Figure of a Woman (poster 4) in this packet. Which do you think is older and why? Check the dates to verify your answer.

11

Nefertem

Egyptian, Dynasty 25–26 (712–525 B.C.)

silverheight: 9 3/4 inchesMuseum Purchase 223:1924

1918

Fine Arts Teaching Suggestions

Egyptian ComicsThe story of Amen-Nestawy-Nakht’s journey to the

afterlife is recorded on the Mummy Case of Amen-

Nestawy-Nakht (poster 6) in four painted panels called

registers. The registers have a narrative composition

similar to a comic strip. Ask students to examine the

characters depicted in the registers and discuss the

scenes in which they participate. Have students design

comic strips illustrating important journeys they have

taken or will take in their own lives.

For younger students Ask students to examine the animals represented in theHippopotamus (poster 3), God Horus (poster 8), andCat (poster 12) sculptures and on the Mummy Case ofAmen-Nestawy-Nakht (poster 6). Animals were importantsymbols in Egyptian art and often were identified withgods. Ask students to draw an animal they identify withand have them explain their choice.

For older students Ask students to develop written scripts to accompany their comic strips.

MAP Content Standards: FA1, FA3, FA5, CA6MAP Process Standards: 1.6, 1.9, 2.5, 4.1

How Was It Made? The objects in this packet are made from a broad array

of materials. Ask students to use the posters to examine

all the objects and make a chart listing the materials used

to create them. Students can then choose one object and

research how it was made. Using materials available in the

classroom (Model Magic, cardboard, papier-mâché, etc.),

students can make a modern reproduction. Have students

compare and contrast their reproduction with the real

object. These activities could be done in small groups.

For younger students Ask students to bring in a small object from home tocompare and contrast with an ancient object found in this packet.

For older students Ask students to write a narrative or deliver an oral presentation to the class highlighting the similaritiesand differences of the ancient object and their modernre-creation. They should explain each object’s creationand possible uses.

MAP Content Standards: FA1, FA2, FA5, CA6MAP Process Standards: 1.8, 1.9, 2.1, 2.3

Ancient Portraits Ancient Egyptian artworks often feature stylized portraits

of individuals. Have students observe Striding Man

(poster 2), Figure of a Woman (poster 4), and Mummy

Mask (poster 5) and compare and contrast the facial

characteristics of each. Have students create self-portrait

mummy masks in relief by working on board using

modeling compound, paint, glass, metal, or other

materials inspired by those used in the Mummy Mask.

For younger students Have students use mirrors to draw self-portraits. Askthem to render their faces and hair in ways that makethem look like ancient Egyptians.

For older students Ask students to create three-dimensional self-portraits.They can model their portrait after any of the three-dimensional pieces in this packet.

MAP Content Standards: FA1, FA3, FA5, SS6MAP Process Standards: 1.5, 1.6, 2.4, 2.5

Social Studies Teaching Suggestions

Write Like an EgyptianHieroglyphs, an ancient Egyptian form of writing, are

small pictures and symbols that are based on objects

and activities found in Egyptian daily life. The word

hieroglyph derives from the Greek hiero, meaning

sacred, and glyph, meaning carving. Ask students to

examine the hieroglyphic writing on the Mummy Case

of Amen-Nestawy-Nakht (poster 6), the Butchering

Scenes, Tomb of Prince Mentuemhat (poster 7), the Set

of Canopic Jars for the Royal Scribe Khera (poster 9),

and the Shabti of Keb-It (poster 10). Have students

look for recognizable images within the hieroglyphs

and research the meaning behind them. Students can

record their findings on a chart.

For younger students Ask students to draw their ideas for some new hieroglyphsbased on everyday events in their own lives.

For older students Have students research other forms of ancient Egyptianwriting, such as hieratic and demotic, and compareand contrast them with hieroglyphs in a written reportor class presentation. As an extension activity, studentsmay research the writing of other ancient cultures.

MAP Content Standards: SS6, SS7, FA4, CA7 MAP Process Standards: 1.2, 1.4, 1.8, 2.1

Egyptian Fashion Ancient Egyptians paid considerable attention to

physical appearance. Observing fashion trends represented

in artifacts provides a window into the cultural history,

environmental conditions, and social status of ancient

Egyptians. Ask students to look closely at the Striding

Man (poster 2), Figure of a Woman (poster 4), Butchering

Scenes, Tomb of Prince Mentuemhat (poster 7), and

Nefertem (poster 11) and describe the dress, accessories,

and hairstyle depicted in each. Have them compare and

contrast these with contemporary choices in clothing and

personal adornment. Ask students to use their findings

to develop hypotheses about climate, geographical

location, and class structure in ancient Egypt.

For younger students As a class, make a list of clothing appropriate in ourculture for each season and a list of clothing appropriatefor various jobs. Ask students to make guesses aboutweather and jobs in ancient Egypt based on clues theyfind in the artifacts. Have students search magazinesfor figures whose clothing reflects different seasons and occupations.

For older students Have students research and prepare reports on materialsand processes used to make clothes in ancient Egypt.Encourage students to produce drawings or models toaccompany their reports.

MAP Content Standards: SS5, SS6, CA6, PE2MAP Process Standards: 1.9, 1.10, 3.5, 4.3

Timeline Objects in this packet range in date from 3100 B.C., the

Pre-dynastic period, to 30 B.C., the Ptolemaic dynasty.

Have students create a timeline spanning these years

and place each object in the packet along the continuum.

Ask them to calculate the age of each object. Have

students divide into teams to research historical events

that took place during these periods and record them

along the timeline. Discuss the social and political

context in which the objects were made and how they

may visually reflect this history.

For younger students Working as a class, arrange the posters in chronologicalorder from the oldest object to the most recent one.

For older students Have students research another ancient culture and create a timeline documenting its history. Ask studentsto compare and contrast the cultural histories illustratedin the two timelines.

MAP Content Standards: SS2, SS5, SS7, MA1 MAP Process Standards: 1.6, 1.8, 2.1, 3.1

2120

Science and Math Teaching Suggestions

Science and Math continued on next page

Fruit Mummies! The Mummy Mask (poster 5) was originally placed

over the head and shoulders of a mummy. The Mummy

Case of Amen-Nestawy-Nakht (poster 6) still contains the

body of a man who lived over three thousand years ago.

Ask students to research and discuss the mummification

process. Then have students experiment with fruit to

learn what happens when organic things decay. Apples

work well for this exercise. They can observe and discuss

how fruit changes shape, size, texture, and density as it

decomposes. Have students compare fruit decaying in the

air to fruit that is buried in salt. Students should chart

their observations. These activities work well in groups.

For younger students Have your students write or talk daily about thenoticeable changes in four areas: shape, size, texture,and density.

For older students Have students chart changes on a graph. Ask the studentsto include sketches of the fruit with their charts. Havethe students prepare a written or oral presentation oftheir findings. As an extension activity, students couldinvestigate the preservation properties of salt or natron.

MAP Content Standards: SC3, MA6, SC4, CA1MAP Process Standards: 1.2, 1.3, 1.8, 2.3

Measuring Up In Egyptian art, the relative size of a scene or figure

often indicates its importance. Have students use a ruler

to measure the height of the standing figures, from head

to toe, in the first (top), second, and fourth registers on

the poster of Mummy Case of Amen-Nestawy-Nakht

(poster 6). Students can research the identity of the

figures and then make a chart listing each figure’s

name, the register in which the figure appears, and the

figure’s height.

For younger students The animal-headed gods Thoth and Horus are shownin the top register on the mummy case. Examine thewhole case. How many times do these gods appear in total?

For older students Using their charts, students should work in groups to determine what relationship, if any, exists between thesizes of the figures in different registers. (For example,are the figures in each register always the same size?Did the artist follow a standard ratio to determine thedifferent sizes of figures or does the sizing seem random?)Students should present their findings to the class.

MAP Content Standards: MA1, MA2, CA3, SS7MAP Process Standards: 1.2, 1.6, 1.8, 2.4

Kinetic/Performing Arts Teaching Suggestions

Pose Like an EgyptianThe Mummy Case of Amen-Nestawy-Nakht (poster 6)

features an array of figures engaged in the rituals of

passage from one life to the next. Assign each student

a character and have the class create a tableau vivant,

or living picture, of a scene on the case. Have students

break into groups and choose a scene. They should

discuss what might have happened before or after that

scene and then act out that sequence for the class.

For younger students Have one student at a time pose like one of the figureson the case and ask the class to guess which charactereach student is enacting.

For older studentsHave students investigate the ancient Egyptian “weighingof the heart” ceremony. Students could then conduct amock trial in which Amen-Nestawy-Nakht’s heart isweighed against the feather of truth.

MAP Content Standards: CA1, CA5, FA5, SS6MAP Process Standards: 1.5, 2.1, 2.4, 4.6

What’s My Story? All of the objects in this packet tell a story. Have stu-

dents choose an object from the packet that shows at

least one human, god, or animal. Students can assume

the role of that object and prepare a presentation (using

the first person) for the class about the story of that

object. Students might focus on the creation or use of

the object or tell how it was found by archaeologists

and put on display in the Museum. Students can work

in groups.

For younger students Teachers might assign an object and ask students to focus on a particular part of that object’s story.

For older students Students should add props or costumes to their presentations.

MAP Content Standards: CA1, CA5, FA5, SS6MAP Process Standards: 1.5, 2.1, 2.4, 2.5

Ancient DramaMany of the objects in this packet depict people, gods,

or animals that possess human qualities. Have students

work in teams to choose one of these ancient objects to

investigate. Ask each group to join with the others and

write a script based on the imagined interaction of the

people, gods, and animals represented.

For younger students Play a game in which each student gives voice to one ofthe objects and the class guesses which object is speaking.

For older students Assign parts to students and have the class act out thescript. Have students film a movie from the script, takingturns directing and shooting scenes.

MAP Content Standards: CA1, CA7, FA4, FA5MAP Process Standards: 1.6, 2.5, 3.6, 4.6

2322

Communication Arts Teaching Suggestions

My Favorite ThingsAmen-Nestawy-Nakht would have had objects made

for his tomb like the ones in this packet. Ask students

to imagine that they are Amen-Nestawy-Nakht and

write about three of their favorite objects from this

packet. They should include the reason why they, as

Amen-Nakht, wanted those objects to be included in

their tombs.

For younger students Ask students to choose their favorite object from thepacket. They should explain to the class why they chosethat object.

For older students Choose and research one of the objects. Write a reportabout the object explaining how, or where, it fits intoancient Egyptian cosmology and present your findingsto the class.

MAP Content Standards: CA1, CA4, CA6, SS6MAP Process Standards: 1.2, 2.1, 3.3, 3.6

(After-)Life StoriesArt found in Egyptian tombs often tells us something

about the life and afterlife of the deceased. Examine the

Mummy Mask (poster 5), the Mummy Case of Amen-

Nestawy-Nakht (poster 6), and the Butchering Scenes,

Tomb of Prince Mentuemhat (poster 7) with your students

to look for clues to these life and “after-life” stories.

Have students interview someone they know and then

re-tell that person’s life story in a written paper or oral

class presentation.

For younger students Have students divide into pairs to interview one anotherabout what is important to them. Each student shouldpresent their partner to the class and then write a shortstory about their partner or draw a picture that commu-nicates an important moment in their partner’s life.

For older students Students should research the life of an ancestor orsomeone they admire and then write a biography orprepare a presentation for the class. Students should be encouraged to make their final projects multimediaexperiences that could include interview excerpts, filmfootage, photographs, original documents, etc.

MAP Content Standards: CA3, CA5, SS6, SS7MAP Process Standards: 1.3, 2.2, 3.2, 4.6

Being a ScribeHieroglyphic writing is visible on the Mummy Case of

Amen-Nestawy-Nakht (poster 6), the Butchering Scenes,

Tomb of Prince Mentuemhat (poster 7), the Set of

Canopic Jars for the Royal Scribe Khera (poster 9), and

the Shabti of Keb-It (poster 10). Ask students to review

the writing on these objects and to compare and contrast

the hieroglyphic system with our writing system. As a

class, discuss the role of scribes in ancient Egypt.

For younger students Have students imagine that they are in scribe school inancient Egypt. Brainstorm together about daily activitiesin the school. Ask students to write short stories (or usepictures and words) to describe their day at scribe school.

For older students Divide the class into three groups for a debate. Group Ashould prepare arguments supporting the ancientEgyptians’ idea that not everyone needed to be literatewhile group B prepares arguments supporting our society’semphasis on the importance of literacy. Group C willlisten to the debate and write a summary including themain points of each group. The summary should indicatewhich argument was the most convincing and why.

MAP Content Standards: CA5, CA6, CA7, SS6MAP Process Standards: 1.5, 1.9, 2.3, 4.3

Fill It UpVessels (poster 1) in ancient Egypt came in assorted

shapes and sizes and were used for a variety of purposes.

Have students examine the picture of the jars and bowls

on poster 1, and discuss what they might have been

designed to hold. Bring in an assortment of similar

containers and have students predict which holds the

most and which the least. Have students experiment in

groups with volume and mass by filling containers with

liquid and solid materials and graphing the results.

For younger students Ask students to describe containers they have at homeand discuss what kinds of things they hold. Fill vesselssimilar to those in poster 1 with jelly beans and havestudents guess how many beans are in each.

For older students Measure the dimensions of vessels similar to those inposter 1. Estimate how much liquid each can hold andthen verify the amounts through experimentation.

MAP Content Standards: SC7, MA1, MA2, MA3MAP Process Standards: 1.6, 1.8, 2.2, 3.7

Environmental EffectsCareful scrutiny of the objects presented in this packet

reveals signs of the accumulated effects of time and

circumstance, such as cracked or worn surfaces or faded

colors. The condition of objects from ancient times often

sheds light on their histories. As a class, observe all the

objects in the packet and make note of any damage.

Have students look for evidence of erosion and present

hypotheses about what caused it based on the age of

the object, the type of material used, and the environ-

mental factors to which the object was exposed.

For younger students Observe elements of the classroom environment such asthe blackboard eraser, pencils and pens, or the surfaces ofstudent desks. Discuss what their condition reveals abouthow old they are and how much they have been used.

For older students Have students choose a group of objects made ofmaterials similar to those found in the packet (stone,wood, papier-mâché, etc.). Place these objects in differentenvironments, if possible (outdoors, in cold areas, inwarm areas, in damp, etc.). Ask students how theythink the objects will be affected by each environment.Over a period of weeks, graph the effects of time andweather on the condition of these materials. Compareresults as a class to see how different environmentsaffect the same materials.

MAP Content Standards: SC1, SC4, SC7, SC8MAP Process Standards: 1.8, 2.3, 3.1, 3.5

Science and Math Teaching Suggestions (continued)

2524

Books for Younger Students

Aliki. Mummies Made in Egypt. New York: T.Y. Crowell,

1979. Reprint, New York: Harper Trophy, 1985.

This book describes the process of mummification

and the reason it was developed. Drawings bring the

information to life.

Chrisp, Peter. Ancient Egypt Revealed. New York:

DK Publishing Inc., 2002.

This book explores themes such as the royal mummy,

temple secrets, and life on the Nile. Personal adornment,

food, and writing are also addressed. Many illustrations

are included and transparent pages give students a look

inside Tutankhamen’s coffin and a boat that would

have traveled on the Nile.

Harris, Geraldine, and Delia Pemberton. Illustrated

Encyclopedia of Ancient Egypt. Lincolnwood, IL: Peter

Bedrick Books, 1999.

Organized by topic, this book is a useful reference tool

and includes many images. “Trails” (themes) that can

be followed throughout the text include everyday life,

myth and magic, the natural world, and work.

Hart, George. Ancient Egypt. San Diego; Harcourt

Brace, 1991. Reprint, New York: Dorling Kindersley

Publishing, Inc., 2000.

This photo essay on ancient Egypt and its people

explores religion, rituals, and daily life.

Ross, Stuart. Tales of the Dead: Ancient Egypt.

New York: DK Publishing, Inc., 2003.

This book mixes a graphic novel with factual information

describing Egyptian life. Detailed drawings illustrate

life in an Egyptian town.

Books for Teachers and Older Students

El Mahdy, Christine. Mummies, Myths, and Magic in

Ancient Egypt. New York: Thames and Hudson, Inc.,

1989. Reprint, 1991.

Arranged thematically, this resource focuses on multiple

themes in three general areas: the road to eternity,

unfolding the past, and myth and magic.

Quirke, Stephen, and Jeffery Spencer, eds. The British

Museum Book of Ancient Egypt. New York: Thames

and Hudson, 1992.

This book covers Egyptian culture from prehistoric

times to late Roman antiquity. It is organized by

themes including funerary customs and beliefs,

language and writing, and art and architecture.

Redford, Donald B., ed. The Oxford Encyclopedia of

Ancient Egypt. Oxford: Oxford University Press, 2001.

This three-volume resource is a reference tool that

provides information in multiple fields including

archaeology, social history, language, and biography.

Reeves, Nicholas. The Complete Tutankhamun: The

King, the Tomb, the Royal Treasure. New York:

Thames and Hudson, 1990.

Richly illustrated, this book describes the discovery

of this famous tomb and the treasures found inside.

Photographs show Howard Carter and his team at

work in the tomb and the artifacts in their original

tomb locations.

Robins, Gay. The Art of Ancient Egypt. Cambridge:

Harvard University Press, 1997.

This book offers an introduction to ancient Egyptian

art including sculpture, coffins, amulets, tombs, and

wall paintings. It is organized chronologically.

Suggested ResourcesGlossary of Egyptian Terms

amulet—a personal ornament thought to provide magical

protection or powers to its owner; ancient Egyptians

wore amulets and buried them with the dead

Anubis (ah NEW bis)—the patron god of embalmers

and protector of the dead; associated with a jackal

ba—ancient Egyptian concept roughly equivalent

to the soul of a deceased person

Bastet (bas TET)—a protective goddess; her cult began

in the town of Bubastis but later spread throughout

Egypt; associated with cats

Book of the Dead—a collection of spells that focuses

on life after death; selections from the book were often

buried with mummies and written on or inside coffins,

on tomb walls, on shabtis, and on amulets

canopic (can AH pick) jars—jars that hold certain internal

organs removed from a body during mummification

cartonnage (car tah NAHZH, rhymes with garage)—a

material made from layers of linen, papyrus, or other

pliable elements that are pasted together with resin and

covered with plaster; used also to denote a container

made of this material that protects a mummified corpse

demotic (dem AH tic)—the most cursive script in ancient

Egypt; used for medical, scientific, and literary texts

and for everyday writing such as business documents

and letters

faience (FY ahns)—a low-fired, man-made material

composed of crushed quartz pebbles or sand that has

been glazed; this material can be modeled, cast, and

thrown on a wheel like clay

false beard—a symbol of kingship; pharaohs, including

females, and some gods and goddesses are depicted

wearing these

hieratic (higher AT tic)—as old as hieroglyphic script, this

cursive script was used mostly for everyday writing and

for religious, magical, and mathematical texts; it con-

tinued to be used for religious texts after it was replaced

by demotic for everyday use in the sixth century B.C.

hieroglyphs—the picture signs used in the hieroglyphic

script; there were hundreds representing both sounds

and ideas; hieroglyphs were used throughout ancient

Egyptian history, primarily on objects meant to last

for eternity

Horus (HORE us)—god of the sky, son of Osiris and Isis,

closely tied to the living pharaoh; associated with a falcon

ka—ancient Egyptian concept roughly equivalent

to the vital or life force of a deceased person

Nefertem (NEH fur tum)—a creator god and god of the

town of Memphis; shown as a man with a lotus and

flower crown on his head

Osiris (oh SYE ris)—according to myth, the first king of

Egypt and the first mummy, ruler of the dead; shown as a

mummy wearing the tall crown of a pharaoh and usually

holding a crook and a flail, elements of a king’s regalia

pharaoh—an ancient Egyptian king; possibly originating

from the word meaning “great house”

sarcophagus (sar COFF a gus)—a container used to

protect a mummified corpse; usually made of stone

scribe—a literate person who worked within the

government administration in ancient Egypt; thought

to have one of the most important jobs in ancient

Egypt, scribes recorded information, administered

justice, and supervised other workers

shabti (SHAHB tee)—a small figure placed in ancient

Egyptian tombs to serve as a substitute for the deceased

when work was required in the afterlife

Thoth (THAWTH)—god of writing and knowledge, patron

of scribes, overseer at the weighing of the heart ceremony;

associated with an ibis or a baboon

weighing of the heart—a ceremony described in the

Book of the Dead in which the heart of the deceased is

balanced against the feather of truth; the vindicated join

Osiris in the next world, while the guilty are condemned

to die the final death and are devoured by an awaiting

crocodile-like beast

24

2726

Notes

The British Museum, Ancient Egypt

http://www.ancientegypt.co.uk/menu.html

This informative and student-friendly site on ancient

Egyptian life includes topics such as geography, gods

and goddesses, mummification, and writing.

Cleopatra: A Multimedia Guide to the Ancient World

http://www.artic.edu/cleo/index.html

Developed by the Art Institute of Chicago, this site

includes QuickTime video clips about art from the

ancient world, an illustrated timeline, maps, and lesson

plans for teachers.

The Metropolitan Museum of Art, The Art of Ancient Egypt

http://www.metmuseum.org/explore/newegypt/htm/a_index.htm

This extensive resource is organized around five themes:

ancient Egyptian beliefs, looking at Egyptian art, the

people of ancient Egypt, the natural world, and the

story of the collection. It includes a glossary, a timeline,

a curriculum connections section, a bibliography, and

a list of additional resources. This site is geared toward

educators or older students.

Odyssey Online

http://carlos.emory.edu/ODYSSEY/index.html

Students can explore the culture and art of the ancient

Near East, Egypt, Greece, Rome, and nineteenth- to

twentieth-century sub-Saharan Africa. This site was

developed by the Michael C. Carlos Museum of Emory

University, the Memorial Art Gallery of the University

of Rochester, and the Dallas Museum of Art.

The Society for Historical Archaeology

http://sha.org/

This website contains information about historical

archaeology and includes a section for kids.

Useful Websites

28

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