Tondo of the Two Brothers

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Tondo of the Two Brothers (Antinoopolis Tondo)

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Artefact Details

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Gallery number: 14 – Upper Floor

Period: Roman Period, reign of Hadrian, (c. AD 117–138)

Size: H. 24 cm, W. 38.5 cm

Place of discovery: Middle Egypt, el-Sheikh Abada, (Antinoe)

Material: Wood (unspecified), encaustic, pigment (unspecified)

This circular painting is believed to represent a provincial version of the contemporary style of mummy portraits. This panel is made of two vertically divided halves and shows what are believed to be brothers standing side by side facing forward. The right-hand half of the painting has suffered much damage.

The man on the viewer’s right appears to be the elder of the two and wears white drapery with thin hair on his upper lip and chin, brown skin and comparatively prominent facial features. Above his shoulder is the small figure or gold statuette of Hermes, with winged sandals and carrying his staff entwined with snakes.

The man on the viewer’s left wears a white tunic with a purple border. The shoulder of his garment is decorated with a swastika symbol, representing fertility and his purple cloak is fastened together with a green and gold brooch. His skin is lighter than the other man and he has only the slightest trace of facial hair. Above his shoulder is the small figure or gold statuette of a figure holding a staff and wearing an Egyptian crown. The date 15 Pachon, is painted in black above his shoulder.

Commonly known as mummy portraits, these paintings were found throughout Egypt and combine Greek and Egyptian representations of the human form. They are popularly known as Fayoum mummy portraits after the first discovery and largest collections recovered from the Fayoum region of Egypt. Some of these portraits represent only the head of the deceased, while others depict the upper part of the body. They illustrate the facial features, clothing and hairstyle of the deceased, were placed over the face of the mummy and secured with parts of the outermost wrapping.

These portraits were painted on boards or panels and in some cases on linen using the encaustic painting technique. A mixture of pigments with hot or cold beeswax and other ingredients such as egg, resin, and linseed oil, or animal glue tempera made from an aqueous medium such as glue, egg, wax or beeswax.

Fayoum portrait of a boy

Fayoum portrait of a boy

Fayoum portrait of a

Fayoum portrait of a boy

Fayoum portrait of a boy, he wears a lilac-coloured chiton and round the top of the chiton is a necklace

Artefact Details

Gallery number: 14 – Upper Floor

Period: Roman Period (c. 30 BC – AD 306)

Size: Height: 30 cm, Width: 15.5 cm

Place of discovery: Hawara – Fayum

Material: Wood (unspecified), encaustic

This portrait is in a three-quarter pose with the right shoulder toward the front. The child has thinning brown hair, especially on the sides of the head. The face is full, nose and neck fleshy and the ears protrude forward. The brows are pushed downward and scrunched slightly together and the eyes stare straight ahead. The child’s skin is a yellowy-beige colour. This child wears a purple tunic with a white mantle over the left shoulder, and thick black sleeves, bordered by gold lines. Across the chest is a chain of circular ornaments in white (silver?) and gold that are shaped much like fruit. The top of this panel has been roughly shaped into a round edge with cut corners, the black outline followed by the cutter is still visible. Some paint is missing from the face and the left-hand side of the panel, where there are cracks. Spots of brown residue remain the surface.

Commonly known as mummy portraits, these paintings were found throughout Egypt and combine Greek and Egyptian representations of the human form. They are popularly known as Fayoum mummy portraits after the first discovery and largest collections recovered from the Fayoum region of Egypt. Some of these portraits represent only the head of the deceased, while others depict the upper part of the body. They illustrate the facial features, clothing and hairstyle of the deceased, were placed over the face of the mummy and secured with parts of the outermost wrapping.

These portraits were painted on boards or panels and in some cases on linen using the encaustic painting technique. A mixture of pigments with hot or cold beeswax and other ingredients such as egg, resin, and linseed oil, or animal glue tempera made from an aqueous medium such as glue, egg, wax or beeswax.

Head of a Gaul

Head of a Gaul

Head of a Gaul

Head of a Gaul

Head of a Gaul

Artefact Details

Gallery number: 34 – Ground Floor

Period: Roman Period (c. 30 BC– AD 306)

Place of discovery: Unknown

Size: H 37.50 cm

Material: Marble

Gauls inhabited in the region of ancient Roman Empire, specifically the territory corresponding to modern France, Belgium, southern Netherlands, Switzerland, northern Italy and Germany to the west of the Rhine River.

The Gaul is characterised by his facial features, his stiff hair and his moustache. This head is considered one of the most impressive pieces of art of its era. Although much of the head is broken off, it is still easy to recognise the warrior’s sense of pain conveyed through the contracted eyebrows, turned head and dishevelled hair.

Panel of blue faience tiles of Djesor

Panel of blue faience tiles of Djesor

Artefact Details

Gallery number: N / A

Period: 3rd Dynasty

Size: 181 cm x 203 cm

Place of discovery: Saqqara

Material: Limestone and faience

Colossal Statue of Ramesses II as Standard Bearer

Colossal Statue of Ramesses II as Standard Bearer

Artefact Details

Gallery number: Garden Center

Period: N/A

Size: N / A

Place of discovery: Armant in 1913

Material: Red Granite

Two Red Granite Sphinx of Thutmose III

Two Red Granite Sphinx of Thutmose III

Artefact Details

Gallery number: Garden Center

Period: N/A

Size: N / A

Place of discovery: Karnak

Material: Red Granite

Statue of Senusret III

Statue of Senusret III

Statue of Senusret III

Statue of Senusret III

Statue of Senusret III

Artefact Details

Gallery number: 21 – Ground Floor

Period: N/A

Size: 54X58X150

Place of discovery: N/A

Material: N/A

Image Gallery

Portrait of a woman

Portrait of a woman

Portrait of a woman

Portrait of a woman

Portrait of a woman

Artefact Details

Gallery number: 14 – Upper Floor

Period: Roman Period

Size: Height: 38 cm, Width: 21 cm

Place of discovery: Hawara – Fayum

Material: Cedar wood with encaustic painting

Image Gallery

In 1888 the British archeologist Sir William Flinders Petrie discovered in the site of Hawara, where king Amenemhat III (12th Dynasty) built his pyramid, a series of beautiful and vivid paintings on wooden boards, known as «Fayum portraits», attached to upper-class mummies and made during the Roman period. The portraits covered the faces of mummies and at present-day about 900 portraits have been discovered. This young woman wearing two strings of emeralds and a pair of gold earrings was called Demos and died at the age of 24 during the reign of the emperor Domitian (51-96 AD). The Fayum portraits usually have inscriptions with the name and the profession of the deceased.

Wall Frieze of the legend of Oedipe

Wall Frieze of the legend of Oedipe

Artefact Details

Gallery number: 50 – Ground Floor

Period: Roman period (c. 30 BC – AD 306)

Size: Height: 98 cm, width: 239 cm

Place of discovery: Tuna el -Gebel (Upper Egypt)

Material: Stucco pigment (unspecified)

Oedipe (Oedipus), according to Greek mythology was the son of Laius and Jocasta, the king and queen of Thebes. When he was born the king consulted an oracle that revealed he was condemned to die at the hands of his son. Because of this prediction, the parents ordered a servant to kill the child; however, the servant took pity on the child and gave him to a shepherd. The shepherd called him Oedipus or ‘swollen feet’ since his feet had been tied tightly by Laius. Oedipus was taken to Corinth and was given to King Polybus and his wife Merope, who decided to raise him as his own. As an adult Oedipe went to the oracle of Delphi wanting to know if he was the son of the king and queen of Corinth, but instead the oracle told him that he had a dark destiny whereby he would kill his father and marry his mother. To evade the oracle’s prediction, Oedipe decided to leave Corinth and head to Thebes.

On his way to Thebes he came across King Laius riding his chariot at a narrow spot on the road. The king ordered Oedipe to move aside, resulting in an argument, leading to the king to killing one of Oedipus’s horses. Oedipe in return drags the king from his chariot and killed him not knowing that he is his real father.

Before entering Thebes, Oedipe met the guardian sphinx of the city, with the head and breast of a woman, the body of a lioness and the wings of an eagle. She was sent as punishment from Hera or Ares, as mentioned in the latest version of the myth. The sphinx would stop all travellers unable to solve certain riddles such as: What creature with one voice moves on four legs in the morning, two legs at midday and three in the evening? The answer is man during his life stages. Another riddle mention asks: Two sisters one gives birth to the other and she, in turn, gives birth to the first. The answer was the day and the night.

Oedipe answered this riddle correctly and the Sphinx was destroyed by either throwing herself from her high pedestal, killed by him, or in a third version, devouring herself. As a reward for liberating Thebes Oedipe was offered the hand of the Dowager Queen Jocasta, subsequently becoming king of Thebes, not knowing that she was in deeded his mother. However, Oedipe struggled in his duties and the oracle warned that the only solution was to kill any eyewitnesses the fight, but Jocasta had already started the search for a witness to murder of her former husband. On questioning the witness, Oedipe realised that he was the son of the king and queen of Thebes and that he had killed his father and married his mother as the oracle predicted. At this realisation, Jocasta ran to the palace and hung herself in her rooms. When Oedipe discovered her body, he stabbed his eyes with the needles of his robe, left the palace and asked for quick punishment. He blinded himself because he could not bear to look on the faces of his parents, his family or the people of Thebes.

This wall frieze, framed with a band of three lines in blue, yellow and black, decorated a tomb wall and illustrates three major moments in Oedipe’s life. Read from right to left, the first scene depicts Oedipe slaying his father Laius, king of Thebes. Oedipe is represented nude except for his brown high boots flowing reddish–brown cape, and the baldric of his sword, grasping his father’s hair with one hand, while the other plunges the sword into his body. Behind the king a stela is represented to mark his grave, next to which the figure of Agnoia, personification of ignorance is dancing.

The central scene depicts the god Zetema and the goddess of Thebes. Zetema (whose name means Inquiry and search) is depicted as a young man seated with his legs to his left, looking back to the right, towards Oedipe, wearing a green himation garment wrapped around his lower body. Thebes is depicted as a young female wearing a light brown himation wrapped at her lower body and resting against a rocky ridge that probably indicates Mount Kithairon. The third scene, depicts Oedipe opposing the sphinx outside the city walls inside a stone arched gateway, his left hand grasps the hilt of his sword, while his right arm is raised. The winged sphinx crouches on a high pedestal in Greek style.

Head of Alexander the Great

Head of Alexander the Great

Head of Alexander the

Head of Alexander the Great

Head of Alexander the Great

Artefact Details

Gallery number: 34 – Ground Floor

Period: Ptolemaic (332 – 30 BC)

Size: Height: 10 cm

Place of discovery: Al-Yauta (Fayum)

Material: Alabaster

Image Gallery

This alabaster head is the remain of a small statuette of Alexander the Great: the emperor has been given long thick curls held in place by a band that was an emblem of royalty in portraits of Macedon: Probably a crown was inserted on top of the head.