All translations from texts in ancient Egyptian, Coptic and Classical Greek are the author’s own. So too is the translation from Hermann Hesse’s Demian on p. 217.
Chapter 2
38‘What comes from the heart takes the shape of Atum…’ from British Museum stela EA 498 (‘The Shabaka Stone’), line 53.
Chapter 3
46‘which has given birth to the gods, and from which every thing has emerged’ British Museum stela EA 498 (‘The Shabaka Stone’), line 58.
47‘For, these days, these folk collect their harvest with less trouble than anyone’ from Herodotus, The Histories Book 2/14.
57‘The town of Pe is sailing upstream to you…’ from Spell 412, in a corridor running east from the antechamber of the pyramid of king Teti (6th Dynasty).
Chapter 5
80‘a nation built out of stone’ from the title of H. G. Evers, Staat aus dem Stein. Denkmäler, Geschichte und Bedeutung der ägyptischen Plastik während des Mittleren Reichs Verlag F. Bruckmann, 1929.
85‘and when the two parts were brought together they fitted so well…’ from Diodorus of Sicily, A Library of History Book 1/98.
Chapter 6
93‘Say, is there Beauty yet to find?’ from ‘The Old Vicarage, Grantchester’ by Rupert Brooke, Collected Poems, John Lane, 1916.
Chapter 8
144‘I beat the rebels away from the sacred-boat…’ from Ägyptisches Museum Berlin stela 1204.
147‘an early example of the Egyptian predilection for squaring the circle’ from C. Aldred, Egyptian Art p. 36 (see Select Bibliography).
Chapter 9
157‘“self-preservation”, to coin an Egyptologist’s phrase’ see J. Assmann, ‘Preservation and Presentation of Self in Ancient Egyptian Portraiture’ in P. Der Manuelian (ed.), Studies in Honor of William Kelly Simpson Vol. 1 Boston Museum of Fine Arts, 1996.
164‘according to one interpretation, they represent mostly women’ see N. Harrington, ‘Anthropoid Busts and Ancestor Cults at Deir el-Medina’ in K. Piquette and S. Love (eds), Current research in Egyptology 2003: Proceedings of the Fourth Annual Symposium, Oxbow Books, p. 85.
Chapter 10
173‘The first of these, Achthôes, harsher than the generations before him…’ ascribed to Eusebius by George the Monk, see W. G. Waddell, Manetho Loeb Classical Library 350, 1940, pp. 60–61.
173‘barbaric stelae present many extraordinary attempts to render the half-forgotten signs’ from F. Ll. Griffith in W. M. F. Petrie, Dendereh 1898 The Egypt Exploration Fund, p. 52.
177‘One authority lists at least 150 cemeteries by the end of the Old Kingdom’, see D. Kessler, ‘Nekropolen. Frühzeit und A.R. 1-6 Dyn.’ in W. Helck and E. Otto (eds), Lexikon der Ägyptologie IV Otto Harrassowitz, 1982.
Chapter 11
191‘Today death seems to me like a whiff of myrrh…’ from Papyrus Berlin 3024 (‘The Dialogue of a Man with His Soul’).
195‘Now, my person found this very chapel built of bricks…’ from Cairo Museum stela CG 34013.
198‘it is, at least in part, distinctly a memorable edifice as the Medici Chapel at Florence…’ from A. B. Edwards, A Thousand Miles Up the Nile (2nd edn) A. L. Burt, 1888, p. 392.
211‘My person desired to make a commitment for my father Amun-Ra in Karnak…’ from Cairo Museum stela CG 34012.
Chapter 12
217‘In fact I saw – I thought I saw or felt – that it was not even a man’s face…’ from Hermann Hesse, Demian. Die Geschichte von Emil Sinclairs Jugend S. Fischer Verlag, 1921, pp. 53–54.
218‘a quest for naturalism and realism’ from R. Hari New Kingdom. Amarna Period Iconography of Religions XVI, 6, E. J. Brill, 1985, p. 18.
220‘a revision of the written script to more closely reflect the spoken language of the time’ from the British Museum website, accessed in October 2016.
220‘at the most revolutionary point in the early part of the reign of Akhenaten…’ from W. Stevenson Smith, Art and Architecture p. 312 (see Select Bibliography).
226‘a single obelisk’ from the hieroglyphic text of the obelisk now standing in the town square beside the Basilica di San Giovanni in Laterano, Rome.
228‘the innovators of the Amarna period had left intact the foundations of Egyptian art’ W. Stevenson Smith, Art and Architecture p. 312 (see Select Bibliography).
231‘Now his person happened to be relaxing in the throne-room’ from Cairo Museum stela CG 34002.
234‘three centuries which followed the collapse of Egyptian authority constitute one of the most obscure phases of Nubian history…’ from J. H. Taylor, Egypt and Nubia British Museum Press, 1991, p. 37.
241‘qualities of maturity and experience are valued more highly than youth and promise’ from J. Malek, Egyptian Art p. 360 (see Select Bibliography).
241‘is in the more realistic and even brutal style of the dynasty’ from C. Aldred, Egyptian Art page 219 (see Select Bibliography).
243‘Iriketakana’s corpulent form’ see R. G. Morkot, The Black Pharaohs. Egypt’s Nubian Rulers The Rubicon Press, 2000, pp. 271–72.
Chapter 13
247‘If you think about burial, it is ripping out the heart…’ from Papyrus Berlin 3024 (‘The Dialogue of a Man with His Soul’).
251‘this “friend” Inyotef may be the same as the house manager in the upper scene’ see J.-R. Pérez-Accino, ‘Panorama desde lo alto de la pirámide (o al cielo por la puerta de servicio)’ in Gérion 2007 Extra, pp. 80–81.
Chapter 14
267‘one of the supreme pieces of carving of the early XVIIIth dynasty…’ see M.S. Drower, Flinders Petrie. A Life in Archaeology University of Wisconsin Press, 1995, p. 230.
273‘the largest group of goldwork that had left Egypt’ from W. M. F. Petrie, Seventy Years in Archaeology Low, Marston and Co, 1932, p. 212.
279‘The Frenchman declared the jeweler responsible “incomparable” in any age’ see J. de Morgan, Fouilles à Dahchour en 1894-1895 Adolphe Holzhausen, 1903, p. 60.
279‘Málek describes the delicacy as “breathtaking” ’ see J. Malek, Egyptian Art p. 204 (see Select Bibliography).
279‘the airy lightness of the goldwork’ from W. Stevenson Smith, Art and Architecture p. 203 (see Select Bibliography).
279‘it conjures up the image of a lovely young girl as she pads barefoot through the palace…’ from A. P. Kozloff, ‘Luxury Arts’ in M. K. Hartwig, Companion p. 296 (see Select Bibliography).
Chapter 15
282Nectanebo’s ‘jutting chin and nose seem to close like pincers’ from W. Stevenson Smith, Art and Architecture p. 417 (see Select Bibliography).
286‘Egyptian, Greek, and Roman royal statues belong in recognisably Egyptian, Greek, and Roman spaces’ from E. Brophy, Royal Statues in Egypt 300 BC-AD 220. Context and Function Archaeopress, 2015, p. 56.
289‘in most respects what prevailed was several centuries of relative opaqueness, impossibility or refusal of excessively visible cultural borrowings’ from J. Bingen, Hellenistic Egypt. Monarchy, Society, Economy, Culture University of California Press, 2007, p. 251.
290‘the colouration of these scenes was more akin to Greek art than Egyptian’ see W. Stevenson Smith, Art and Architecture p. 421 (see Select Bibliography).
291‘reliefs and paintings “which can no longer be identified as truly ancient Egyptian art”’ from J. Malek, Egyptian Art p. 396 (see Select Bibliography).
294‘the girl’s destiny to be a mother may be fulfilled in the afterlife’ see V. Dasen, ‘La petite fille et le médecin. Á propos d’une étiquette de momie d’Égypte romaine’ in V. Boudon-Millot et al, Femmes en Médecine. En l’honneur de Danielle Gourevitch De Boccard Édition-Diffusion, 2008, pp. 57–58.
296‘lawless and degenerate kings’ from Codex Pierpont Morgan 590 (‘Pope John’s Encomium for St Menas’), folio 61v.
Postscript
304‘He that hath found some fledg’d bird’s nest’ from ‘They Are All Gone Into the World of Light’ by Henry Vaughan, Silex Scintillans Part 2, 1655. ‘If only I had an unknown song and some discovered words…’ from British Museum writing board EA 5645 recto (‘The Lament of Khakheperraseneb’).
305‘we here are on the wrong side of the tapestry’ from ‘The Sins of Prince Saradine’ in G. K. Chesterton, The Innocence of Father Brown Cassell & Co, 1911.