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COMPANY OF IMAGES LONDON,18-20SEPTEMBER 2014

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Company of Images:modelling the ancientEgyptian imaginary

world of the MiddleKingdom (2000-1600 BC)

Abstracts

The purpose of this conference is to explorethe fertile imaginary world of MiddleBronze Age Egypt (2000-1600BC) throughits material culture and the archaeologicalsources from which such material isrecovered.The conference is an opportunity to explorehow the ancient Egyptians populated theirimaginary universe, combining different

images, materials and objects - a "Companyof Images".

www.companyofimages.com

ORGANISING COMMITTEE

Gianluca Miniaci, Stephen Quirke, Marilina Betr, Jan PictonEXECUTIVE BOARD

Gillian Cordall, Anna Giulia De Marco, Silvia Gomez, Zsuzsanna Lengyel, Marta Krzy!a"ska, Porin !#ukanec Rezni$ek

The conference is part of the research projectEPOCHS

-Egyptian Periodisation Object Categories as Historical Signatures, funded by the EuropeanResearch Council inside the scheme Marie Curie - Intra European Fellowship(http://www.ucl.ac.uk/archaeology/research/directory/epochs-miniaci)


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Company of Images: modelling the ancient Egyptian imaginaryworld of the Middle Kingdom (2000-1600 BC)

London 18-20 September 2014, Institute of Archaeology, UCL

www.companyofimages.com

Thursday 18th September

Theory of function and ontology

1. Personal p i e t y : an archaeo log i ca l response

RICHARD BUSSMANN, University College London

Personal piety is usually understood as expressingan intimate relationship of individuals with aspecific deity, typical of the Ramesside period.Precursors have been suggested to exist amongMiddle Kingdom texts but their bearing on thephenomenon is controversial. The debates tend torevolve around questions of definition,chronology, and the range of data relevant for thediscussion. Most authors develop their argument

from written and visual sources witnessing newliterary phrases and modes of display. Assmannexplains the emergence of personal piety as areflection of psychological crisis (loss ofconfidence in kingship), Baines as a result ofchanges in rules of display (decorum). Departingfrom archaeological evidence, my paper proposesan alternative explanation focussing on long termsocial change during the third and secondmillennia. I suggest that personal piety is aresponse to the gradual dissociation of people

from their deities rather reflecting increasing

intimacy. I argue in line with discussions fromwithin anthropology and cultural history that ideasare articulated in a society whenever they havebecome controversial. The approach may alsoshed new light on the origins of Egyptian templesin the late fourth millennium.

2. Concept ions o f demons in the Middle

Kingdom Cof f in Texts

ZUZANNA BENNETT, Swansea University

The ancient Egyptians came into contact with awide range of supernatural entities in daily life andin the afterlife. In the Middle Kingdom, imagesand descriptions of demonic beings weremanifested onto objects such as the apotropaicivory wands, figurines and coffins. Whilst modern

scholars would consider these beings to beimaginary, to the Egyptians they were the realembodiment of their hopes and fears. The demonsin the Middle Kingdom Coffin Texts represented agreat potential threat to the continued existence ofthe spirits of the ancient Egyptians after death.

Although these beings are rarely depicted visually,their appearance and iconography are oftendescribed in the accompanying texts.Nevertheless, the category of demon is difficultto distinguish from other entity types that occur in

the Coffin Texts, such as deities and animals, dueto similarities in names, appearance, functions andbehaviours. Thus, scholars have debated over thedefinition of an ancient Egyptian demon anddiffered in their opinions of which entities shouldbe considered to be demons. This paper aims toexamine how the ancient Egyptians conceived thedemonic beings in the afterlife during the MiddleKingdom. Through doing this, new criteria forentity classification will be proposed with the aimof clarifying the etic category of demon for ease

of academic discourse. These criteria can also beused as a modifiable framework for researchers of


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6. Figurines as fo lk cu l ture?

ANNA STEVENS, British Museum and AmarnaProject

Taking as its point of departure small hand-

modelled mud plaques in the form of nakedfemales, this paper will explore how ideas weretransmitted into everyday material culture inancient Egypt and whether we might find traces offolk culture in figurine production.Striking in their stylized representation of thehuman form, plaque figures were produced fromthe Middle Kingdom into the late New Kingdom(and probably beyond). They have a notably longperiod of circulation, in which they overlap withboth moulded female figurines, in pottery and

faience, and with more elaborate hand-modelledfigures.This talk will focus on the processes involved inmaking figurines (hand modelling versusmoulding, firing versus sun-drying, etc) and on theinterplay between manufacturing and decorativetraditions. It offers that figures such as the hand-modelled plaques provided a canvas onto whichcertain elements found repeated expression and

were clearly prioritised, but which allowed peopleto present them in their own combinations and

with their own flare. It explores how hand-modelled plaque figures may have been particularlysuited to absorbing current or spontaneous ideas,far more than moulded figures. And it asks

whether we might find within them traces of localor community traditions.

7. Composi t e worlds : some comparat ive

thoughts on image , t e chnology , and inst i tu t ional

change in ear ly s ta t es

DAVIDWENGROW, University College London

The recent exhibition 'La fabrique des images'provides a bold scheme for modelling image

worlds, both ancient and modern, based upon afour-field classification proposed by theanthropologist Philippe Descola. While theemphasis there is on image and ontology, mypaper will discuss how modes of image making arealso affected by changing scales of socialorganisation, and by accompanying changes in the

technologies of image making and imagedistribution. The example of early Egypt will be

placed in a comparative perspective, whichincludes neighbouring parts of the EasternMediterranean, Africa, and the Middle East.

Friday 19th September

Assemblages from excavations

8. A zoo en-miniature ; animal amulet s in semi-

prec ious s tones in the ear ly and la t e Middle

Kingdom

WOLFRAM GRAJETZKI, University College

London, UCLA Encyclopedia of Egyptology: areaeditor Time and History

Small amulets made of semi-precious stone,depicting animals were especially popular in theFirst Intermediate Period and early MiddleKingdom. They are best attested in provincialcemeteries. They seem to disappear under thereign of Senusret I. In the late Middle Kingdomthey are no longer common and other amulettypes appear. The function and distribution of

these amulets will be discussed as well as thefundamental political and social changes underSenusret I, that led to many changes in materialculture.

9. A household cu l t a t Kom el -Fakhry: Middle

Kingdom obj ec t s in cont ext

NAGWAN ELHADEDI,MSA, Egypt

During the American Research Center in Egypt(ARCE)/ Ancient Egyptian Research Associates(AERA) Memphis field school in 2011(MRFS) werecorded the objects excavated from the Middle

Kingdom settlement at Kom el-Fakhry, MitRahina. The site excavations included a cemetery


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on the west and part of a settlement on the east.The cemetery consists of vaulted mud brick tombscontaining limestone burial chambers, which aredated to the First Intermediate Period or earlyMiddle Kingdom.

We excavated large structures consisting of a northbuilding and a south building containing severalrooms as a part of the settlement that dates fromthe early 12th to the late 13th dynasty. The siteoffers a rich, well stratified Middle Kingdomassemblage of domestic religious material and dailylife objects. Finds from probable domesticcontexts include: querns and grinders, whetstones,

weights, abraders, palettes, polishers, pounders,anvils and stone basins, reused ceramic tools,

weaving tools, a wide range of chert tools, a Bes

amulet, beads, pendants and scarabs, stone vessels,door sockets, clay model animals, models andgames, stoppers, faience tiles, and many inscribedsealings, statuettes, and a coffin mask. The KomFakhry objects excavated from good stratigraphiccontexts certainly contribute much to ourunderstanding of the character of the settlementand the activities which are represented.Domestic religious practices -that is, religiousconduct within a household setting-arerepresented at Kom Fakhry in a room showing a

long series of occupation. Items for a householdcult were found in situ including a limestone stela,an offering table, and a small seated statute of aman, N(y) ka, and a woman, Sat-Hathor. Thisassemblage was definitely in use during the 13thDynasty. East of this room from the same phase

we excavated the head and feet of a limestonedwarf lamp statue that was surrounded with otherlimestone fragments which may also have comefrom the statue. Currently we are studying theKom Fakhry objects and comparing them with

other the settlement material, particularly thatexcavated by the EES at Kom Rabia (RAT).

10. Unbroken stor i es : Middle Kingdom fa i enc e

f i gurines in the i r archaeo log i ca l cont ext

GIANLUCA MINIACI, University College London,cole Pratique des Hautes tudes

Small figurines modelled in a wide range ofmaterials such as mud, clay, faience, ivory, stone,and wood are known throughout ancient Egyptianhistory. However, in the late Middle Kingdom (ca.1800 BC), a new type of figurine quite suddenlyappeared in the archaeological record only todisappear just as abruptly by the end of the SecondIntermediate Period (ca. 1550 BC). These figurines

were diagnostic for their range of forms and fortheir manufacture; a lustrous and intensely bluefaience, composed of a coarse core covered by a

thin finer surface layer and finished in a glossy bi-chrome glaze. Late Middle Kingdom faiencefigurines often appeared together with othercategories of objects displaying a broad range ofapotropaic imagery (ivory tusks, cuboid rods,feeding cups), which have been interpreted astools for protection of child and mother duringpregnancy and childbirth.

The aim of the paper is to analyse faience figurinescoming from secure archaeological contexts andattempt to provide a possible interpretation for

their use and purpose.

11. Imagined communi t i es , prac t i ca l ident i t i es :

cont extual izing household f i gurines at Wah-sut

NICHOLAS PICARDO, Harvard University (TheGiza Project)

The presence and use of magico-religious figurinesin ancient Egyptian houses reflect a world view in

which otherworldly realms of deities and demons

could intersect with the earthly sphere in the mostmundane yet intimate of settings the home. Byinvoking these fantastical agents through figurines,household members situated themselves in theircompany, and as such they referenced theEgyptians own placement in the larger ideologicalcontext of the cosmos. However, such practices

were social phenomena as well: from procurementof figurines through active use to their disposal,they involved interactions among householdmembers that were contingent upon their roles in

a real-world community, particularly within thehousehold itself. Details about who used figurines,


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who enjoyed the perceived benefits theyconferred, along with where and when they did so,simultaneously defined and were constrained bysocial boundaries. Such distinctions were potentfactors in the creation, mediation, and

maintenance of practical social identitiesof thehousehold as a whole, of sub-groups, and perhapseven of individualsespecially in large, elitehouseholds. This paper considers the socialsignificance of figurine assemblages within thecontext of households. The case study is the lateMiddle Kingdom settlement of Wah-sut at South

Abydos with focus on the material record of theelite house known as Building E, which includesfigurines of animals, stylized anthropoid figuresand other forms.

12. Royal Mortuary Imagery o f the Second

Intermediat e Period : Senebkay and the tombs o f

the Abydos Dynasty

JOSEFWEGNER, University of Pennsylvania

The discovery in 2014 of the tomb of kingSenebkay (ca. 1650 BCE) at South Abydosprovides a glimpse of mortuary scenes and texts ofa king of the Second Intermediate Period.

Although unique as a decorated Upper Egyptianroyal tomb of the Hyksos Period, the tombsimagery shows common elements in artistic styleand iconography with a range of mortuary objectsdating to this time frame. The paper will discussthe decorative program, iconography, and texts ofthe Senebkay tomb along with evidence of theother known tombs of the Abydos Dynasty kingsat South Abydos.

13. Late Middle Kingdom funerary assemblages

and the i r symbol i c background. A cr i t i ca l

rev i ew o f some current hypotheses

HARCOWILLEMS, Katholieke Universiteit Leuven

As Bourriau showed nearly a quarter century ago,late twelfth dynasty funerary assemblages aremarkedly different from those encountered earlierin burials. According to her, these assemblages(often including funerary figurines of differentkinds) are likely to render the ideas expressedearlier in the Coffin Texts in material form. Indifferent ways, this angle of incidence is also found

with Miniaci and Grajetzki. The former believesthat the main tenets of important earlier MiddleKingdom texts like CT spell 335 explain the form

and function of Rishi coffins, while the latter hasrepeatedly stressed the continuity of the MiddleKingdom tradition of inscribing texts on coffins.Likewise, Seiler assumes that the potterycomponent of late Middle Kingdom and SecondIntermediate Period assemblages show a processof "Tradition und Wandel".

All these authors thus appear to believe that, atleast initially, the assemblages simply continue linesof thought already established in the early MiddleKingdom. This paper will offer a critical evaluation

of these accounts, and attempts to show that, tothe extent that later Middle Kingdom funeraryideas are at all traditional, they are unlikely to befirmly rooted in what might be called the "Coffin

Texts tradition".

Related object types

14. Clappers and the wie ld ing o f f emale r i tual

power in Egypt s Middle Kingdom

ELLEN MORRIS, Barnard College, Classics andAncient Studies, New York

Performing for gods, kings, and the blessed dead,khener-troupes of musicians and dancers were a

vital and much-commemorated component ofreligious ritual in Egypt. If Betsy Bryan is correct,the etymology of xnr comes from the verb xni, tokeep rhythm, the determinative of which is apair of clappers. Clappers are well attested in

archaeological contexts of the Middle Kingdom,where they typically either take the shape of plain


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curved tusks or else of human forearms and hands.Based on their morphological similarity to so-called magic wands, on the fact that both weremost often fashioned of hippo ivory, and on theirsimilarly intimate association with feminine ritual

power, it is likely that the two types of artefactswere thematically interconnected. As will bediscussed, this supposition is strongly supportedby the archaeological contexts in which clappers

were found. Khener women and their maskedcounterparts wielded clappers in ritualperformances that can be seen to have negotiatedimportant transitions in life and again in thestrange and unsettling world that came after it.

15. Paddle Dol l s r i tual f i gurines o f

f er t i l i t y

ROBERTO A. DAZ HERNNDEZ, JohannesGutenberg Universitt Mainz, Institut fr

Altertumswissenschaften

The function of the so-called Paddle Dolls hasbeen a topic of discussion among Egyptologistsfor some time now: they have been interpreted astoys (J. Garstang, 1907), concubines of the dead(H. Winlock, 1947), personified menat necklaces (P.

Barguet, 1953), fertility statuettes (J. Bourriau,1988) and figurines representing female dancers ofthe goddess Hathor (E. F. Morris, 2011). Thispaper argues that the paddle dolls are indeedritual figurines of fertility as the followingarchaeological, iconographical and ethnologicalfacts suggest: a) A paddle doll was found in tomb5 of the Ramesseum beside a papyri-boxcontaining magical spells for protecting mothersfrom demons during birth and other ritual fertilityobjects such as ivory wands; b) Paddle dolls are

usually characterized by a marked pubic triangle, asevidence for their fertility function, and sometimesthey are also decorated with fertility motifs such asthe hippopotamus-form of the fertility goddess

Taweret; c) Paddle dolls resemble dolls of presentday African tribes used as ritual objects of fertility.

After analysing these facts I will conclude thatpaddle dolls were ritual female figurines typicalfrom Upper Egypt that Egyptian women used as akind of amulets for getting pregnant and having ahappy birth. Lastly, they are a good evidence for

African influence in Upper Egypt, as theirresemblance with African fertility dolls suggests.

16. Female f i gurines wi thout l egs : a new

iconographi c approach

MAYA MLLER, Basel

Female figurines without legs: a new iconographicapproach. Two variants of legless figures belong tothe MK only: the faience figurines with flattenedback and the paddle dolls, geometrically shapedsilhouettes. Past efforts of finding a single clue totheir meaning ended in truisms. Instead, alliconographic elements must be defined andanalysed separately, the heretofore most neglectedones being the general shape of the figures and thetextile patterns.

The reduced form of the round-bottomed bodyresembles a spherical bottomed oil or water jar,precursor of the NK Hathor headed ritual jars,figurines wearing a dress with net pattern perfectlyemulating a pot in a carrier net. Among the textilepatterns on the figurines dresses, the featherpattern characteristic of the clothes of deities andkings is an important visual sign of divineness.

Various lozenge and net patterns decoratingdresses of goddesses and justified tomb ownerspoint to a broader spreading of marks of

divineness; together with chequered, zigzag lineetc. patterns, they form the obligatory set of textilepatterns covering the palace faade motif, from theED period onward. They all derive from primarytextile techniques like twining or interlacing,characteristic for the mats that protect the deadbody, since prehistoric times (PT 690).Resulting from such investigations (including allother properties such as presenting the pubicregion, or the hair-style) we arrive at a series ofassociations of a symbolic nature, forming a

fluctuating complex of ideas connected with thefigurines. The accent is on fluctuating, any


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specific case study generating a specific set ofassociations.

17. The Ramesseum Ladies

ANGELA M.J.TOOLEY, Independent Researcher

The Ramesseum Ladies are fertility figures orparts of fertility figures from the Theban

necropolis, more specificallyfrom what is often referredto as the Magicians Tombor Tomb 5; the ThirteenthDynasty shaft tomb belowRamesseum store 5. Thetomb is well known for its

collection of papyri, faiencefigurines, snake wand, ivorybirth tusks and woodenBeset statuette; all objectsconsidered to have amagico-religious function.

Although often referred to,but never in detail, theLadies are the so-calledfertility figures, of which atleast four are definitely

from this deposit. The fifthLady is somewhatproblematic. Whenconsidered closely it can be

demonstrated that there arethree different types of fertility

figure within the deposit: a wooden paddle doll; afaience figure; and at least two limestone figures -each decorated in a different way. The latter twotypes are generally considered to be the same.However, this is not the case.

As part of a wider study of Middle Kingdom andSecond Intermediate Period fertility figures, andimages of women in this period in general, thispaper considers the Ramesseum Ladies within alate Middle Kingdom chronological frameworkand developmental scheme, looking at theiriconography in detail, its chronological significanceand also considers what they can tell us of thetomb in general.

Saturday 20th September

Single Images Types

18. Dog f i gurines in the Middle Kingdom

KAMILA BRAULI%SKA, Faculty of History,University of Warsaw

The analysis of Egyptian iconography indicatesthat dogs were consistently presented throughoutall the historical periods. The styles, contexts andanimal types varied, however followed a certainpattern. The evident tendencies may be identified,depending mainly on the period of Egyptianhistory. In the Middle Kingdom a motive of a dogspread in the small objects, made most of all offaience, and rarely of other materials as well. Oneobserves certain similarities in the way of depictingthe dog in the figurines of the discussed period.

There is a particular scheme of presenting theanimal, its poses, and its exterior features. Indeedpuzzling is the fact that the types of dogspresented, in large percentage are not coherent

with the most of the known Middle Kingdom dog-iconography. Nevertheless, the further reflection,analysis and the comparison to the iconographyreveal a particular tendency in the depictions thestudy concerns. It appears that the faience dogs aremore domestic" than the elegant specimenpresented on the walls of the nobles tombs.However, the other materials the figurines aremade of, seem to determine the representation ofanother type of dog.

19. The h ippopotamus goddess wi th the

c rocodi l e on her back: a ch i e f l y la t e Middle

Kingdom image

SABRINA CERUTI, Consultant for the EgyptianDepartment of the Civico Museo Archeologico,Milano

The Egyptian hippopotamus goddess shows oneof the most distinctive iconographies amongst themembers of the Egyptian pantheon. The mainfeatures of her pictorial representation originate inthe late Old Kingdom. Yet, it is not until theMiddle Kingdom (the Middle Bronze Age) that thegoddess fully displays her most peculiar features.


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Her image is by this time that of a standing figurewith a hippopotamus muzzle, a prominent belly,pendulous breasts, lion paws, and a crocodilesskin on her back. Notwithstanding some minoriconographic variations (particularly in the

depiction of the head) and the addition of someparaphernalia in the New Kingdomabove all thetripartite wig joining and coalescing with thecrocodile skin on her back, the description ofthe goddess given above is consistent throughoutthe surviving documentation until the Late Period,in both two- and three-dimensionalrepresentations of her.From the Middle Kingdom, however, a fewdocuments display a unique and significant

variation of her traditional iconography, in that she

no longer wears a crocodile skin, but appears tohave a whole, living crocodile climbing on herback. This alternative depiction of the goddessseems to have been a short-lived one, and to havedisappeared from standard religious iconographyafter the Middle Kingdom. In virtually all knownspecimens, it was then confined to astronomicalceilings, where the hippopotamus goddessembodied one of the Northern constellationsyet, even in this context, it remained a lesscommon variant of her more typical depiction. In

this paper, I will offer an overview of thedevelopment of this particular iconography of thehippopotamus goddess, which so typicallycharacterises her rich imagery during the MiddleKingdom, and explore its significance.

20. The Middle Bronze Age Egypt ian Gri f f on :Whence and Whither? LISA SABBAHY. Assistant Professor of Egyptology,and Director of the MA Program in Egyptology

and Coptology, American University in Cairo

This paper will focus on the iconography, meaningand contextual use of the griffon in Middle Bronze

Age Egypt, specifically the griffon in tomb scenes.To accomplish this, a discussion of ancientEgyptian griffons from the Predynastic to the LatePeriod will be included, to help analyze themeaning of the griffon in light of its context inancient Egyptian material objects through time.

The Middle Bronze Age Egyptian griffon is found

in tomb depictions at Beni Hasan and el-Bersheh,and also on the apotropaic wands. What is the

origin of this creature, and in what context is itused in these tombs? Why would the griffonappear in these specific tombs and scenes? Howdoes its use and possible meaning on earlier andlater monuments help our interpretation? In

particular, the symbolism of the griffon with ahuman head between its wings will be addressed.

Series of images

21. Decorat ion and image on Middle Kingdom

pot t ery : Can Fish Dishes be read?

SUSAN JALLEN, The Metropolitan Museum ofArt; Museum of Fine Arts Boston

The vast majority of ancient Egyptian pottery isundecorated. There are only a few periods whenthe pottery workshops created wares which beardesigns or motifs: the White Cross-lined andDecorated Wares of the Naqada II and III periods,the Blue Painted Ware of the 18th-19th Dynastiesand the painted pottery of the Coptic/Late

Antique period. All of these are painted wares. Inthe Middle Kingdom, however, there exists one

unique ware that is a combination of vessel shape,fabric, and manufacture which is decorated withincised designs on the interior. The imagesemployed to decorate these dishes were derivedfrom the natural world which the people ofancient Egypt experienced daily and which heldmeaning for them.

The most common type of design was a largeTilapia fish filling the base with smaller fish,lotuses and other aquatic plants and triangular


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elements suggesting mountains or water arrangedalong the walls of the dishes. It is from this thatthe name fish dishes comes. Sometimes otheranimals representing both the Nile and the desert

were included. Fish Dishes belong to the living.

They are not found in tombs but in settlements.Can we speculate on how they were used by theancient Egyptians? As a deliberate arrangement ofimages rather than decoration, can we try to readthem and understand what they represented forthe user? Do they reflect a ritual or custom; arethey symbols of regeneration, fertility, the rhythmof life? Can they be related to other images in the

world of the Egyptians in the Middle Bronze Age?

22. Armed and dangerous: An i conography o f

prot ec t i ve Middle and New Kingdom demons

KASIA SZPAKOWSKA, Swansea University

One of the most obvious characteristics of MiddleKingdom iconography is the surfacing of newpopulations of beings, many of them creativelycomposite. They appear as both two and three-dimensional images on objects such as ivory wandsand vessels, as well as formed as figurinesthemselves. During the New Kingdom, seemingly

mundane household pieces of furniture such aschairs, beds, and particularly headrests, as well asthe occasional ring or seal also began to bedecorated with strikingly similar imagery. Many arearmed with weapons or potent religious icons,appearing to be engaged in fierce warrior dances.In this respect they differ from those of theMiddle Kingdom which at first glance appear to bemore static. While many of the objects were foundin tombs, their wear patterns and supportingevidence confirms their use in daily life. Thus,

although these creatures arose from the Egyptians'imagination, they constitute tangiblemanifestations of a common belief in the efficacyof these little demons for dispatching anxieties,terrors, and afflictions that were very real. In orderto allow for a deeper iconographical and semioticanalysis, I will focus on a discrete subset of these

entities: those that appear to be armed on theirsecondary limb(s). The goal of this discussion is toshare preliminary analyses in terms of theircontext, the nature of the weapon itself, and thepose, comparing those on specific object types

from the Middle Kingdom (wands and cups) withthose in the New Kingdom (bedroom furniture).

23. Figuring migrat ions : sever ing and jo in ing

power l ines

STEPHEN QUIRKE, University College London

In the late Middle Kingdom, series of differentimages appear in two dimensions on a new artefacttype, longitudinal half-sections of hippopotamus

lower canines, and more rarely on select othersurfaces. Inscriptions on some tusks identify theseimages collectively as sau protections. Buildingon the researches by Hartwig Altenmueller, PeterHubai (SAK 37, 192) has returned attention to atranslation by Erman of sau in a tusk inscription asamulets. Tusk inscriptions also assert the mainfunction of figures as to come to selectprotection, using the term stpsa. In this paper, Iexplore implications of the specific associationsbehind the two terms stp and sa, and possible links

between the different practices of combiningfigures, across the second millennium BC.

The conference is supported by:

University of PisaFriends of the Petrie Museum

Institute of Archaeology - UCLEPOCHS - Marie Curie IntraEuropean Fellowship

company of images_london_2014.pdf

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