Medinet Habu Description of the 18. Dynasty Temple - Cult Chambers

The floor plan above shows the parts of the small temple of Amun which were built during the reign of Hatshepsut or Thutmosis III. The red lines (I-----I) along the walls of the chapels built by Hatshepsut mark the parts which had been decorated by Hatshepsut - all other parts of the walls (I-----I) were either decorated by Thutmosis III or sketched by Hatshepsut but carved for Thutmosis III (according to Hölscher.

The designation of the inner sanctuaries with capital letters is based on Lepsius and continually used by Hölscher. Lepsius (Denkmäler, Texte III, p 150) assigned the letter L to the 1st central chamber, the adjacent chamber to the north was given the letter M and the room to the south was given the N. He used the same procedure to assign letters to the western row of rooms, respectively: O, P, and Q.

Porter and Moss (P&M II, Plan XLV) employed roman numerals using roman I for the 1st central chamber (L)  then the following numerals were assigned in clockwise rotation (N = II, Q = III, O = IV, P = V, and M = VI).

Neither scheme reflects the relation of each chamber to its neighbors.

In the most recent publication the "Epigraphic Survey, Oriental Institute, Chicago" introduced names for the rooms which refer to the ritual context and relief decoration of the appropriate room (OIC Publications 136. Medinet Habu - The Eighteenth Dynasty Temple I, The Inner Sanctuaries. 2009). These names have been also included here in the brackets.

Above a reconstruction of the small temple of Amun after the temple had been extended by Thutmosis III (Hölscher, 1930)

All in all the 6 cult chambers have so been preserved as they were established by Hatshepsut. On the door frame of the southwest chamber the dedication inscription is reads:

The Good Goddess, Lady of The Two Lands, King of Upper and Lower Egypt, Maat-ka-Ra, beloved of Amun-Ra, King of the Gods, daughter of the Sun, of his body, his beloved, Khenemet-Amun Hatshepsut, (she) has made it as (her) monument for her father to Amun, Lord of the Thrones of The Two Lands, Lord of Heaven, he may give her all life and duration like Ra, for ever."

The central chamber L (P&M Room I; Dyad Chamber)  in the first (east) row is larger and higher than the others rooms and it is the only one which received light through an opening in the roof. At the time of Thutmosis III a colossal dyad made of granodiorite stood in the center of chamber L. Hölscher found 3 major pieces of the 3 m high statue, the part with the heads, larger sections of the knees of both figures, and most of the front of the base. Based on these fragments he tried to reconstruct the dyad (see drawings below).

The two illustrations show the reconstruction of the dyad by Hölscher (1930).

The photo shows the dyad in Room L. Facing the dyad it showed on the right probably Amun and on the left (as indicated by the cartouche on the belt) Thutmosis III seated side by side. With the exception of the cartouche on the belt of Thutmosis III. and the symbol of the unification of the Two Lands on both sides of the seat the statue does not show further inscriptions.

During their recent work the team of the Oriental Institute, Chicago, has found a large number of additional pieces, reconstructed the dyad and re-erected it in chamber L (see photo above).

Because the colossal dyad was larger than the door opening, it was necessary to erect the front (east) wall of the chamber after the dyad had been put up. Furthermore, the colossal dyad completely hides the door which leads from from room L into room O. The dyad must have been very important because in contrast to all other statues erected in the cult chambers it was directly illuminated by means of a small light well cut into the ceiling.

During the coregency of Hatshepsut and Thutmosis only the western wall of room L had been decorated (see photo above and following photo), while all other walls were carved during the sole reign of Thutmosis.

However, trace of her cryptogram on the upper western part of the north wall indicate that the decoration had been started during her reign but her decorative scheme had been suspended by Thutmosis (who employed a Xkr-frieze).

Furthermore, also the inscriptions on this wall still show traces of the decoration done under Hatshepsut, i.e. in the cartouches as well as in among the titles were one can still read "Nfr nTr.t = Good goddess"

This photo shows a view into room L (taken through a hole in the door). On the right it shows a part of the dyad, the scene in the left corner Thutmosis III welcomed and given "life" by Amun. The doorway to room O is completely hidden by the dyad, only the door jambs with cartouches can be detected. Right of the doorway there is a similar scene (see photo of the dyad above).

The eastern wall of room L is decorated on both sides of the doorway by a scene in which Thutmosis III is embraced by Amun.

The decoration of the southern wall shows (west of the doorway to room N) Thutmosis III presenting a heap of offerings to an enthroned Amun.

The northern wall is decorated with two scenes: the eastern scene shows Thutmosis III. censing and pouring a libation before the ithyphallic Amun, the western shows the king presenting offerings to the enthroned Amun.

Like all three western rooms about half of room O (P&M Room IV; Sanctuary of Amun) was decorated by Hatshepsut. According to Hölscher here only the names were changed beneath the doors by Thutmosis III (to Thutmosis I. or II).

The east wall of the room O had been decorated to both sides of the entrance with one scene each. On the northern side Thutmosis III. is embraced by Amun and is given "Life", name and figure of the king are original. On the southern side (see left; drawing from: OIC Publication 136. Medinet Habu - The Eighteenth Dynasty Temple I, The Inner Sanctuaries. 2009; plate 33) originally Hatshepsut was embraced by Amun and was given "Life": However, the figure of the queen was erased and replaced by an offering stand with flowers. Also the name of the queen was deleted under Thutmosis. Nevertheless figure and name are clearly recognizable.

The west wall shows two symmetrical representations of an Amun seated before offerings. Above of these scenes there is a frieze with Hatshepsut cryptograms and in the center of this frieze a cartouche of the queen has been preserved (i.e. the signs had been chiseled out but are still readable).

On the left (southern) wall 2 scenes are found: 1st, on the left (southern) side the king, followed by his Ka, is shown offering pellets of natron (= bd-natron) to Amun, 2nd, on the right (northern) side originally Hatshepsut was depicted offering  nTrw-natron to Amun.

On the right (northern) wall there was only space for one left of the passageway to room  P: originally Hatshepsut (figure erased and replaced by a pile of offerings; text erased) was shown giving pellets of incense to Amun.

Even if no remains were found, a cult statue of Amun might have stood in the center of this room - according the representation on the west wall and the inscription between the symmetrical representations of the enthroned Amun this was probably a seated statue of Amun, the " King of Gods ".

Room P (P&M Room V; Naos Chamber) which is only accessible from room O is likewise decorated with offering scenes before Amun, but according to Hölscher the decoration does not suggest the a statue had been erected here.

A double scene on the western wall shows the king censing before Amun (southern, left scene) and performing the ritual "jrt wSA Saj = Pouring out sand (Hannig, Deutsch-Ägyptisch, S. 1083)" before the ithyphallic Amun (northern, right scene; OIC Publication 136, plate 49).

The southern wall shows the Thutmosis III offering milk to Amun.

The northern wall contains two scenes: the western (left) scene showed Hatshepsut (replaced by an Ankh and two offering tables with flowers)  "pouring water" over Amun and the eastern (right) scene showed Hatshepsut (replaced by an Ankh), followed by her Ka, "pouring water" over the ithyphallic Amun.

The eastern wall (rear wall of room M) shows two scenes: the southern (right) scene shows Thutmosis III clothing the ithyphallic Amun; the northern (left) scene showed Hatshepsut (replaced by an offering table) before Amun.

Among the inner sanctuaries of the Small Temple of Amun the decorations of the walls in room P appears to be very special.

In all other room the king is depicted facing consistently inwards and culminating with the center of the ritual focus on the west walls of the rooms O and Q, where in each case the king stands twice before a symmetrically depicted enthroned Amun (room O) or, respectively, before a symmetrically depicted ithyphallic Amun (room Q) .

However, in room P the direction of the cult actions turn out to be different as expected. The action of the king does not culminate on middle of the western wall, but in the northwest corner opposite the entrance. There, an ithyphallic Amun (facing south) is shown on the western wall back to back with a striding Amun (facing east) depicted on the northern wall.

Since only the northern (and half of the eastern) wall had been decorated during the reign of Hatshepsut this direction must be attributed to Thutmosis III.

Today room P contains an unfinished, undecorated cult shrine (Naos) made of pink granite, which was probably brought in after the 4th century BC

Room N (P&M Room II; Vestibule) was decorated almost completely by Hatshepsut, and also completely altered by Thutmosis III. Only one cartouche of Hatshepsut has been preserved on the eastern side as a part of the frieze. The frieze itself consisted, like always when it was decorated by Hatshepsut, of her cryptogram - here again the Kas were destroyed. While rooms O and P had been dedicated to Amun, in rooms N and Q the ithyphallic manifestation of Amun was worshipped here. All scenes in room N show one of the three Thutmoside kings, I to III, always offering before Amun. In the passageways already cartouches of Amenhotep II are even found.

The eastern wall shows two scenes: on the northern (left) side Hatshepsut (name and text changed to Thutmosis II) was shown presenting a loaf to Amun, on the southern (right) scene Hatshepsut (name and text changed to Thutmosis II) was shown censing and pouring a libation before the ithyphallic Amun.

The southern wall of room N shows totally 4 scene, in all of them the name of Hatshepsut and accompanying text  had been changed. From left (east) to right (west) the scenes show: Thutmosis III offering to vessels with water before Amun, Thutmosis I presenting a  nms.t-jar before the ithyphallic Amun, Thutmosis II offering Sa.t-bread before Amun, and Thutmosis II presenting lettuce to the ithyphallic Amun.

The original decoration in the name of Hatshepsut was repeatedly changed and was supplemented. As can be proved Thutmosis III has replaced representations of Hatshepsut - like in many other buildings - by his person or with other representations, e.g., offering tables with gifts. For instance, in the picture shown above - first scene on the southern wall of room N - Thutmosis III offers before Amun (photo: Oriental Institute, Chicago).

The northern wall of room N shows tow scenes: the left (western) scene showed Hatshepsut (name and text changed for Thutmosis II) giving mild to Amun, the right (eastern) scene showed Hatshepsut (name and text altered for Thutmosis I) offering wine to the ithyphallic Amun.

Doorway from room N to room Q. Both sides of all entrances to the 6 inner sanctuaries are decorated in a similar way. Depending upon the available space 3 or 4 horizontal registers are used above the door. The highest register always shows in the center the winged sun disk with two hanging uraeus. On the right of and left of the winged sundisk follows a text with a reference to " Great God, the Behedeti".

Below this register at least two registers follow which contain symmetrically arranged to an anx-sign possible the Horus-name, but always the throne and birth name of - oppositely arranged - two kings (here on the left: Thutmosis II, on the right of Thutmosis I, which both replace here the original names of Hatshepsut.

The left door jamb bore originally the names of Hatshepsut, but were recarved with those of Thutmosis II, the right jamb bears the original names of Thutmosis III.

Right and left the doorframe is flanked with piles of offerings. Each pile is surmounted by a Heaven-sign.

Most likely, room Q (P&M Room III; Sanctuary of the Ithyphallic Amun) contained a statue of the ithyphallic Amun although no remains have been found. Half of the room was decorated by Hatshepsut as indicated the frieze with her cryptogram. Here on the west wall also her cartouche has been preserved. As in all other rooms Thutmosis III has finished the decoration and has altered the already existing scenes.

The west wall shows a symmetrical representation of the ithyphallic Amun embraced by Thutmosis III (northern, right side) and Thutmosis II (southern side) who replaces Hatshepsut. Behind every king his Ka is depicted.

The south wall shows an interesting composition. On the eastern (left) side of this wall the king sacrifices clothes to the ithyphallic Amun (see photo below). Behind Amun one recognizes that a part of the relief has been chiseled out - i.e. originally Hatshepsut had been shown here. Further west (right) one recognizes a pile of offering raised before the enthroned Amun (next but one photo below).

This was a rather "intelligent" way to remove Hatshepsut, because now after the removal of her figure Thutmosis III stands before both manifestations of Amun at the same time!

The northern wall of room Q shows two scenes: the left (western) scene originally showed Hatshepsut (name and text altered for Thutmosis II) with a pile of offerings before the enthroned Amun, the right (eastern) scene shows Thutmosis III offering +sr.t-beer to the ithyphallic Amun.

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On closer examination the decoration of the inner sanctuaries indicates that the temple is provided with two separate ritual axes, each devoted to different aspects of Amun.

Along the central axis, which consists of the two rooms L and O, the striding or enthroned Amun is in the most scenes the recipient of the offerings. The ithyphallic Amun is shown only once in these two rooms.

In contrast, in the two southern rooms N and Q the primary addressee of the ritual suites is the ithyphallic Amun who appears in room N in four of eight and in room Q in four 4 of six scenes.

Room M (P&M Room VI; King's Chamber) is separated from all other rooms. The room was decorated for Thutmosis III.

Both longitudinal walls show on the side of the door (eastern part of the wall) offering bearers, in front of them in each case the god Iunmutef is depicted. Opposite to Iunmutef (in each case on the western side of the wall) the enthroned Thutmosis III is shown and behind - standing - him Meretre-Hatshepsut (the mother of his successor Amenhotep II). According to the inscription the god Iunmutef performs the royal offering four times for the Ka of King Men-kheper-Ra, while before Thutmosis and Meretre-Hatshepsut priests (depicted below the list of offerings) prepare a ritual meal. Since the Iunmutef is offering to the Ka of the king here stood presumably a Ka-statue of the king (Waitkus, 2008).

The south wall is shown on the following drawing (taken from: OIC Publication 136. Medinet Habu - The Eighteenth Dynasty Temple I, The Inner Sanctuaries. 2009; plate 87).

The western rear wall shows 2 symmetrical scenes in which Thutmosis III offers cool water (southern side) or wine (northern) to the enthroned Amun.

The fact that the cult is performed by the god Iunmutef shows unambiguously that the king, or his statue, was worshipped here.

It is quite notable to find a representation of Amun on the west wall of the chapel because he is not participating in the benefits of the cult in this room. Perhaps, a statue of Amun was mounted here in addition or Amun, as the "Lord of the House", was, so to speak, a guest while the king was worshipped in his house?

The doorway to room M has been obviously established later than the other walls.

The eastern exterior of the chapels shows from left to right three scenes:

- left of the entrance to the chapels two scenes (see photo below, composed from 3 single shots) are shown: in the left (southern) scene Thutmosis III is led by Atum and Month from the left to the right, in the right scene Thutmosis III is embraced by Amun.

- right of the entrance to the chapels (located between the doors to room L and M) Atum, coming from right, leads Thutmosis III to Amun.

Al-Ghouri Complex Qubbet Al-Ghouri

Al-Ghouri Complex in Cairo Sultan Qansuh Al-Ghouri was a Mamluk sultan, who had reigned from 1501 to 1516, before dying in a battle against the Ottomans in Aleppo, which resulted in a complete defeat for the Mamluks, due to which they lost their prominence in Egypt.

Al-Ghouri spent a fortune on building his complex in Cairo which dates back to 1503. Although he was renowned for his cruelty and despotism, he was also known for his love of flowers, music, poetry and architecture. His cultural refinement emanates from the different features of the complex.

The construction stands on both sides of Al-Mo'ez Street; the mosque and madrasa stand on the western side, whereas you will find the khanqah, mausoleum and Sabil-Kuttab on the eastern side of the famous street. The mausoleum is however not the final resting place of the Sultan, whose body was never recovered after the Aleppo battle.

The two parts of the complex aren’t adjusted to the street alignment, thus creating a free shaped courtyard in between the two buildings. The mosque’s minaret has four stories, just like the original minaret of the Aqsunqur mosque (the Blue Mosque). These are the only two minarets in Cairo known to have four stories, instead of the usual three.

Since 1995, the complex hosts various cultural events in the Khanqah hall, mostly Nubian music concerts, Tannoura dance performances, and religious recitals.

Ticket Price(s):
Regular: 25 EGP
Student: 15 EGP
 
Nearby Attractions :

 Khan El-Khalili

 

No visit to Cairo is Complete without a stop at the Khan El-Khalili bazaar, where you will be transported back in time to an old Arab souk.

Shop owners calling you to their stalls, the scent of spices, the hustle and bustle of trade, and the many beautiful objects that can purchased will have you lost among alleys for hours.

Put your haggling skills to the test when buying statuettes, spices, souvenirs, silver jewellery, t-shirts, galabiyyas, belly dancing costumes, or anything for that matter.

When your shopping's done, dont miss out on a traditional cup of tea at the famous Fishawi's cafe.

 

Museum of Islamic Art 

  Displaying over 10,000 articles dating back to the Islamic era in Egypt, this is one place you don’t want to miss while in Cairo.

Marvel at the giant carved wooden doors or the tiny, intricate copper sculptures.
With exhibitions from every Islamic period in Egypt, it covers the Fatimids, the Mamluks, the Abbassids, the Ummayads, the Ottomans, and the Ayyubbids dynasties.

Opening Hours: 09:00-16:00
Fri 9:00-11:30; 13:30-16:00

Ticket Price(s):
Regular: 40 EGP
Student: 20 EGP

Bab Zuweila

The Southern Gate to Fatimid Cairo

 Being one of the three ancient gates of Cairo that still stand, Bab Zuweila is a stunning example of Fatimid architecture; it marks the southernmost end of the old Fatimid city.

The gate has two beautifully adorned minarets belonging to the nearby Al-Mu'ayyad mosque, which are open to visitors. Once you ascend the steep steps, you will lay your eyes on one of the best views to the end of Old Cairo. The gate also shares a wall with the mosque and is a must-see sight in Islamic Cairo.

book this tour and visit The Islamic heritage in Cairo Click Here

 

Tales of reincarnation from Ancient Egypt

The extraordinary life of Dorothy Eady ..............(Om Seti).  Tales of reincarnation and past-life memory are rarely proven. In some instances the recollection seems fanciful and speculative, in others the information may be provocative and the details unique.    One of the most convincing examples of the latter in modern times is the extraordinary life of Dorothy Eady, an Englishwoman born at the turn of the 20th century who later became known to many as Omm Sety. Portions of her life have been documented in books and on film in recent times, describing her conscious memory of a life as a priestess in ancient Egypt, which began to awaken at the age of three following a serious fall. She told the dramatic story of how it came about candidly to many people, and made no apologies for her peculiar interest in this past life or for her remarkable affinity with a well-known monarch of Egypt's 19th Dynasty, Pharaoh Sety I (c. 1320-1200 B.C.E.).    I came to know Omm Sety at a dramatic time in my own life, when I made my first pilgrimage to Egypt in 1976. I had begun a temple practice in the canon of the ancient Egyptian religion, and was determined to find answers to my questions about this long-forgotten spiritual work and its meaning in the present day. Books on Egyptology and arcane religions did little to satisfy my confusion about what it meant and why I was doing it. I knew the solution had to exist in Egypt.    It was there that I met Omm Sety and with her encouragement, began my own journey of awakening, just as she had decades earlier.

Dorothy Eady’s Transformation  Born January 16, 1904 in London of Irish parents, Dorothy Eady was headstrong and more than a handful to her parents as an only child. After her early childhood accident (in which the attending doctor had initially pronounced her dead), the door between her past life in ancient Egypt and her present persona fully opened, and she began to regularly dream of being in an Egyptian temple. At times, she believed that she actually visited the temple at night, in her astral body.    Eventually, she discovered that the temple in her dreams really existed, at the ancient site of Abydos in Upper Egypt. As she grew up, she sought more information about this place and just about everything Egyptian, telling her parents longingly that she “wanted to go home.”    She read every book and listened to every story about Egypt, and had the good fortune to be living near the British Museum. There, she befriended and learned hieroglyphs and Egyptian history from the eminent Keeper of Egyptian and Assyrian Antiquities, Ernest A. Wallis Budge, whose prolific books on Egyptian myth and magic are still in print today.

Dorothy did these things not under the tutelage of her parents or mentors, but solely on her own, and this was to be her pattern for the rest of her life. After a sporadic education that was interrupted by the first World War, she agreed to marry an Egyptian man in 1933, admittedly so that she could go to live in the world of her dreams. The match lasted only two years because, “He was ultra modern, and I was ultra ancient,” she said about the split. They had one son, whom she insisted on naming Sety. Years later, she adopted the name Arabic name Omm Sety “mother of Sety,” which designated her identity thereafter.       She eagerly accepted work at Giza, assisting some of the eminent egyptologists of the day, including Selim Hassan and Ahmed Fakhri. Serving as amanuensis and drafts person, she provided invaluable support to those who excavated and recorded the extensive cemeteries and pyramid complexes of Lower Egypt.

The Two Worlds of Omm Sety    When she went to the Per Neter(“divine house”) at Abydos, in dream/astral state, Omm Sety did not see the temple as it was in her day. Rather, she saw it as it had been thousands of years ago, replete with braziers, incense, white-robed priests, and brilliantly-colored wall reliefs, finished in gold. And in those ethereal visits to her spiritual home, she saw herself moving through the corridors and chambers, going about daily life and performing the rites of a priestess of Isis, chanting the lamentations of the goddess at the funeral of her husband Osiris, to whom the temple was dedicated.    Ancient myth told of the horrific death of the god at the hands of his brother Set, and his mystic renewal through the magic of Isis. These solemn events were celebrated at Abydos in festivals throughout the year that commemorated his death  and physical reconstitution, and these observances became the prototype for the funerary tradition of ancient Egypt that lasted for millennium.    Through her dream life and visits from spirits of this past life who came to her at night, she learned that she was Benefactress, a young orphan girl given to the keeping of the temple as was the custom in ancient Egypt. But the more remarkable detail about her life as the young priestess was that she had caught the eye of the visiting pharaoh, Sety I, and they had broken religious law by having a physical relationship that was discovered. Nevertheless, their bond still existed, and he paid her frequent nocturnal visits throughout her present life to prove it.    Omm Sety showed a remarkable familiarity with the period in history that Sety represented, and often referred to him by his throne name, Men Maat Ra, “established in the light of truth.” Abydos, Abode of Ancestors    After her first pilgrimage to Abydos in 1953, she was firmly convinced that she could never live anywhere else. A few years later, she managed to get a work transfer there from the Egyptian Antiquities Department, where she held a modest job as an assistant and drafts person.    When she set up her house, she said that all she wanted was “to live, to work, to die and be buried here.” Indeed, she arrived in 1956 and remained there until she “became an Osiris” (an ancient Egyptian term for passing over) in 1981.    Almost as soon as she arrived, her amazing knowledge of the ancient city came forth.  She accurately pointed out to egyptologists the location of the temple gardens from her past life memory, though they had not yet been excavated. She was also instrumental in the discovery of the famous wavy wall, an enclosure around the Abydos sacred precinct that emulates the primeval ocean of Egyptian myth.    Abydos was known as Ta Wer  (“exalted land”), a time-honored place of spiritual pilgrimage and the ideal destination for burial in ancient times. Tombs from the Pre-dynastic period (prior to 3,500 B.C.E.) down to the Christian era are found here, and important records have been discovered in the area. Not far from the great cemetery was found the important Nag Hammadi scrolls, which vie with the Dead Sea scrolls as the oldest evidence of Christianity.

Pharaoh Sety I, father of Rameses II Reconstruction from his mummy by Marianne Luban
Rameses the Great    Omm Sety’s memory of one of the great figures in ancient Egypt was quite personal. Her past life lover’s son, Rameses II, was one of the most prodigious (and prolific) monarchs of ancient times, leaving thousands of monumental works and a multitude of children (111 sons and 69 daughters are recorded in temples and tombs throughout Egypt). And though he is known in history as “the great,” his ubiquitous appearance at most of the sacred sites in Egypt has also earned him the name of “the inevitable.”    “He’s a much maligned young man,” she said of Sety’s famous son, speaking simultaneously in her past and present persons. “But I can never think of Rameses except as a teenager. And yet when he died he was a very old man, I think he was about ninety.”    She remembered young Rameses racing through the halls of his father’s temple, where she served as a priestess. In the life of Bentreshyt, she would only have known Rameses to be around her age at the time. She died in her Egyptian life as a young woman, and could not have seen him in old age. Her reminiscences of him reflected that.    “Even now when I go to the temple, I can always see young Rameses coming in, rushing through the corridor -- a very restless boy and rather noisy,” she confided. Humor with Reverence    Though her recollections of her Egyptian life were profound and her knowledge of ancient history quit extensive, Omm Sety possessed a wicked sense of humor about things both ancient and modern.    About 60 miles south of Abydos is Dendera (the ancient Tentyris), site of the ancient temple of the goddess Hathor. The existing temple, though a prodigious example of the Divine House of ancient times, was rebuilt in the Graeco-Roman period (approximately 300 B.C.E. to 300 C.E.), nearly 1,500 years after Sety’s temple at Abydos. Omm Sety believed, as do many others scholars, that the reliefs at Dendera depict a corrupt canon of artistic representation in temple art, an inferior rendition of the flawless sacred art of former times.    And though she liked the Dendera temple’s spiritual atmosphere and loved the mystic chapels on the roof that show the mutilation and resurrection of Osiris, she poked fun at the reliefs of the corpulent priests carrying the goddess’ shrine up to the roof chapels. “You can almost hear them panting,” she joked.
Sacred Cats    Omm Sety loved her cats, and we shared stories about our feline friends. I told her that my cat at home ate the food offerings from my temple altar, which I thought might be highly improper for spiritual work. But she was indulgent. “It doesn’t matter,” she said. “After all, they are sacred, too.”    Her cats seem to have shared her propensity for seeing the ancient spirits that interrupted her daily life. She once had a ginger-colored male named Horemheb who liked to ride on her shoulder, and she reported an intriguing incident about this cat, who often accompanied her to the temple. “One day,” she related, “He went into the chapel of Sety, and let out a loud shriek. He came running out with his tail and his back puffed up.”    Abruptly, she added, Horemheb then went back into the chapel and Omm Sety followed. “It was a vision of Sety that gave him the fright,” she said matter-of-factually. The encounter with her soul-mate was evidently a surprise to the cat, but commonplace to her.   Her last and most favored cat was named for the goddess of domestic felicity, Bastet. She had a batch of kittens on Omm Sety’s bed in the spring of 1981, and they had just opened their eyes in the days before she passed over. A Life Well Remembered    When I last saw her in March 1981, Omm Sety spoke of her difficult visit to the temple on December 8, occasioned by an ancient festival that she observed annually. It was celebrated by the Egyptians on the last ten days of their calendar year as “the great feast of Osiris,” and offerings were presented at the temples and the thousands of funerary shrines in the region.    But in the final year of her life, Omm Sety struggled with chronic rheumatism brought on by a broken leg, and visits to her beloved temple were severely curtailed. Nevertheless, she was determined to continue her priestess duties, and brought the traditional offering of a loaf of bread, wine, and incense to the Divine House, though it took her two hours to make the journey. In doing so, abundance for the coming year would be ensured by the offering, as the gods would be honored and the temple’s spirit would continue to function.    “Magic in ancient Egypt was a science,” she noted. “It was really magic, and it worked.”    I found it both strange and admirable that she contributed so much to the scholarly side of Egypt and at the same time maintained a psycho-spiritual connection with it, too. If anyone could walk between those two worlds, it was her. I related to that, and she certainly encouraged me to pursue that path.
With Omm Sety 1976
And as incredible as her story may sound in its telling, those who knew her – from scholars and tourists to townspeople – regarded her with respect and affirmation. Even while she was living, she was called the “patron saint of egyptology,” because of her knowledge – derived from both her practical experience living and working in Egypt – and her personal reservoir of recollection and intuition. Few separated those aspects of Omm Sety from their acquaintance with her, and even fewer questioned the validity of her beliefs because they were expressed so convincingly. It took a great deal of courage – rarely found in a woman at the early part of the last century – to pursue her unfinished life at Abydos and fulfill her dedication to the temple.    After she passed away, I received a message from Bill Donovan, of the American Research Center in Egypt, an institution that had many members who worked with Omm Sety. “Ms. Eady was truly a remarkable person and she is highly respected by those in the ARCE that knew her,” he commented. Afterward, many egyptologists acknowledged that her contribution to the research and writings of many in their profession was extensive.
Remembering Omm Sety The most accurate monument to Omm Sety’s unique life is the manner in which she lived it. Ancient records left by the Egyptians show that they lived close to nature, regarding their animals and divinities with equal affection, and celebrating the simple pleasures – from enjoying freshly-brewed beer to sailing on the Nile – with delight and appreciation. These things she did in this life, and she spoke of doing the very same things in the life she recalled.    For these reasons, Omm Sety accomplished something extraordinary and unique – she lived a life worth remembering twice, both in the ancient and modern worlds. If you require A day tour to visit Abydos Temple from Luxor with a professional Egyptologist guide...click Here

Hatshepsut in the presence of Medinet Habu Temple

History of the small temple of Amun

However, excavations of the Oriental Institute, University of Chicago (directed by U. Hölscher),  during the thirties of the last century suggest that the small temple of Amun (blue frame) erected by Hatshepsut and Thutmosis III had replaced older buildings which were probably raised during the Middle Kingdom. According to Hölscher these investigations show that at least the foundations of two earlier buildings lay beneath the eastern part of the temple which was built by Hatschepsut and Thutmosis III with several alterations of its original plan. Furthermore, Hölscher (1930) could prove that stone blocks from an elder construction had been re-used in the temple erected in the 18th Dynasty.

The drawing above shows the floor plan of the "earliest" building as reconstructed by Hölscher (1930). From the "earliest" chapel or the platform on which it had been erected, only few of the lowest foundation stones of the west side have been preserved. Chapel and court had been enclosed by a mud-brick wall (1 m in thickness). A fragment (= Brick) of the rear (west) wall has been preserved.

 

Half under the pillared gallery of the Thutmosis III and half to the east in front of it Hölscher excavated the remains of a small building. About 180 cm beneath the pavement of the pillared gallery rests the lower course of the foundation blocks of sandstone on a layer of sand. Upon the surface of these blocks the alignment of the walls which formerly stood upon them could be traced. On the west side of the building, i.e. under the pillared gallery, sandstone blocks from the 2nd course were found. Two blocks of the 3rd course which lay above the pavement of the pillared hall were found in situ concealed by the masonry of the 18th dynasty temple. The east side disappeared completely. The size of the building could only be estimated based on the surface of the sand bedding upon which the lowest course was laid. From this it appears that the dimensions were approximately 8 (length) x 7.15 m (width). With the help of these findings Hölscher reconstructed a chapel with three rooms on the west side of the building. Chapel and court were (see floor plan above) surrounded by an enclosure wall of mud bricks, approx. 1 m in thickness. A fragment (= Brick) of the rear (west) wall has been preserved.

 

Furthermore, Hölscher discovered fragments of another structure made of limestone which had been re-used in the 18th dynasty temple (see photo below). These fragments and the finding of 4 limestone pieces of a rounded parapet wall led Hölscher to the assumption that these fragment had been part of a peripteral temple (i.e. a temple surrounded by pillared gallery). It was not possible to determine where this peripteros stood or whether it had any connection with the "earliest" chapel but Hölscher assumed that the the structure which he called "earliest" peripteral temple stood in front of this chapel. However, the relief of this peripteral temple were not completed when it was torn down by Hatshepsut together with her later erected chapel. Based on the fact that the relief were unfinished Hölscher assumed that the peripteros was probably begun by one of the immediate predecessors of Hatshepsut.

Limestone block of the eldest peripteral temple re-used in the southern wall of the barque shrine. The block shows on the left a standing god (most likely Amun) und behind him a vertical band which was intended for inscriptions. On the destroyed right side of the block (left of the repaired crack) one recognizes the back-side of a figure together with a bull's tail, i.e. the representation of a king. Obviously, this block had been part of a row of scenes depicting from left to right a king standing in front of a god.

According to Hölscher the "earliest" chapel (i.e. platform and chapel) as well as the peripteral temple may be dated "before Hatshepsut" but based on the findings a more precise dating is not possible.

During the excavations Hölscher discovered the remains of 4 brick walls (see drawing above; Hölscher, 1930). The remains of the thickest wall (approx. 2.70 m) were directly found on the west side running parallel to 6 cult chambers of Hatshepsut. Beside the brick wall mentioned already above which presumably surrounded the "earliest" chapel and her court, the remains of 2 other walls which were approx. 1.3 m in thickness were found beneath the pillared gallery of Thutmosis III, i.e. left of the chambers of Hatschepsut.

The most eastern of these two walls lay directly beside (to the west) of the old enclosure wall and contained bricks stamped with "Maat-ka-Ra". Hölscher supposed that Hatshepsut had built this wall in the first period of her reign. Although remains of the wall were found only beneath the pillared gallery of Thutmosis III, he supposed that this wall enclosed the all buildings of that time (the "earliest" chapel and the "earliest" peripteros). This wall was torn down by Hatshepsut and a new one erected approx. 3 m to the west to to make place for her shrine (see the next picture).

Below a reconstruction outlined by Hölscher (1930) which shows on the east side the platform (sandstone; approx. 8 x 7.2 m), on which the "earliest" chapel (also made of sandstone) had been erected, and on the rear (west) side the shrine built by Hatshepsut. The  front of the shrine rest half upon the platform of the "earliest" chapel. The observation that a few sandstone blocks of the "earliest" chapel were found in situ below the east wall of the temple led Hölscher to the assumption that at least some part of the "earliest" chapel was still present when Hatshepsut began to build her shrine.

Reconstruction of Hölscher (1930) which shows in front the platform (approx. 8 x 7.2 m) on which the earliest chapel was erected. Behind it a small shrine had been erected by Hatschepsut in the first period of her reign. The hatched blocks have been preserved, everything else is a reconstruction. The platform of the "earliest" chapel and the shrine of Hatshepsut can still be recognized in the floor plans on the right (eastern) side of the temple half covered by the later buildings of Hatshepsut and Thutmosis III..

 

The 2nd enclosure wall was torn down later and moved further to the west by Hatshepsut who made way for further extensions of the temple.

The photo above shows the foundation blocks at the west-south corner of the temple unearth in 2005 by the Epigraphic Survey Project.

The investigations of Hölscher revealed additional foundations which indicated that Hatshepsut extended the building on its west side by 6 chapels and a transverse hall (on the east front of the chapels). The central foundation below the transverse hall indicates that the hall should be supported most likely by a row pillars, perhaps 4 in number (see drawing below). These building operations resulted in a square place with her shrine in the center, this place was converted into a peripteral temple. However, according to Hölscher, probably Hatshepsut did not begin with these chapels before the 2nd half of her reign.

The reconstruction above shows the temple after Hatschepsut had built her (from west to east) 6 chapels, the transverse hall (Width approx. 11 m, Depth approx. 4.3 m) and the shrine (approx. 5.25 m) enclosed by a pillared gallery (by: Hölscher, 1930). With regard to the columns drawn in the transverse hall recent investigations of the Oriental Institute did not prove the presence of bases, i.e. this reconstruction is most likely wrong, these columns had never been erected.

Except for some minor details, the construction of the 6 cult chambers and the transverse hall were most likely completed under Hatshepsut. The relief finished by her showed here and again Thutmosis III, but as a coregent. After he became sole ruler he added relief and inscriptions where these were missing (see the following drawing). In rooms L and M the completion of the relief had probably been delayed under Hatschepsut, because the front sides (door passages) were been left open.

Thutmosis III has changed the construction again (see floor plan below). The peripteros and its shrine became enlarged at the expense of the transverse hall in front of the cult chambers which was taken down. The new shrine was twice as long as the previous one (10 x 20 Egyptian ells, approx. 5.25 x 10.5 m) of Hatshepsut. At the time of Thutmosis III the shrine was about 1 m lower than it is today. The upper two stone layers were added in the Ptolemaic period. Originally the ceiling was on the same level as the ambulatory. Whether the chamber received light through an opening in the roof is not known.

The outer walls of the shrine were decorated directly when it was built. With the exception of the eastern wall which was worked over in the Ptolemaic period the decoration of these walls was preserved including the destructions of the Amarna period. The inner walls were completely reworked in the Ptolemaic period. However, an attempted was obviously made to keep closely to original decoration - even a note of restoration added by Sethi I was correctly reworked.

 

The floor plan above shows the parts of the small temple of Amun which were built during the reign of Hatshepsut (I-----I) or Thutmosis III (I-----I). The red lines in the chapels built by Hatshepsut mark the walls which had been decorated by Hatshepsut - all other parts of the walls were either decorated by Thutmosis III or sketched by Hatshepsut but carved for Thutmosis III.

Above a reconstruction of the small temple of Amun after the temple had been extended by Thutmosis III (Hölscher, 1930)

The decoration of the temple of Amun was changed several times and completed in later time.

Above: View of the entrance to the gallery from the forecourt, which was raised during the reign of Kushite kings between the bark shrine and the pylon (s. a. the following drawing)

In the 20. dynasty the small temple of Amun became part of the precinct of the temple of Rameses III at Medinet Habu. It was during the reign of Rameses III that the outer walls of the temple (with exception of the western rear wall) were decorated all around with the typical scenes showing the king before various gods.

Since the location of the small temple of Amun was regarded as a "holy place" Rameses III had integrated the temple into his temple, most likely in order to achieve a more "holy" appearance for his own building.

Djeser set, the small temple of the Amun in Medinet Habu was enlarged at the time of the Kushite kings (25th Dynasty, approx. 715-664 B. C.) - probably during the reign of Taharqa. The drawing above (Hölscher, 1958) shows a windowless pillared mud-brick hall raised in front of the Thutmosid shrine and a demarcating small pylon with 4 flagpoles.

Recent investigations of the Epigraphic Survey Project of the Oriental Institute, Chicago, showed that this reconstruction of Hölscher (see drawing above) was wrong. Instead of a narrow hall a colonnade with 6 columns on both sides had been built. However, the columns were not freestanding elements but were connected by intercolumnar walls. Between the colonnade and the pylon a vestibule was directly built to the west side of the pylon (see the following drawing; OIC, Epigraphic Survey - Annual Report 1996-96).

In the Ptolemaic period this colonnade was altered. The intercolumnar walls and the vestibule were removed, the number of columns on each side was increased to 8. Together with new flanking walls the colonnade now formed a triaxial hall which had two gates shortly before the pylon (see below).

In Persian (Saite) period the temple was extended by a barque station in front of the Kushite pylon. The builder can not be ascertained anymore, in scraped out cartouches Nectanebos I. has immortalized itself. Hölscher (1958) reconstructed here a barque station formed by two rows of 4 columns on each side which were connected by intercolumnar walls. Most likely this barque station resembled that of Taharqua (Great Colonnade) at Karnak temple. These intercolumnar walls were sufficient high to conceal the interior from the exterior.

During the Ptolemaic and Roman (2nd century AD) times - apart from additional modifications - a 2nd pylon (see photo below), the side wings at the peripteros of Thutmosis III and the "Roman" gate (originally a portico with 8 columns and a forecourt were planned but never finished) were added.

Above the pylon built during the reign of Ptolemaios VII and the "Roman" gate in front of itI; the view follows the axis through the Kushite pylon to the entrance of the gallery (far back)

During the Ptolemaic and Roman extensions obviously numerous stone blocks from the Ramesseum had been re-used whereby the blocks were partly built in so that there original decoration were adjusted to the core of the walls.

The photo above shows the "bedroom scene" which is part of the "Myth of Birth". The scene shows the "sexual intercourse" of Amun (left) with the elected queen (right). Both are carried on the "lion bed" by two goddesses (lower right: Neith, see also Brunner, H., Die Geburt des Gottkönigs., 1986). This block was built upside down into the southern Ptolemaic wing added to the peripteros of Thutmosis III. Several other blocks were re-used in this wall, among them one shows the cartouches of queen Tujj, mother of Rameses II, i.e. these blocks were taken from the Ramesseum.

Room P contains a Ptolemaic naos (= shrine) which was brought in after the rear wall had been taken down. Some stones of the rear wall still show today the demotic signs which had been used to mark the position of stone which laid next to each other. These marks  were used during the re-erection of the rear wall (see photo below).

Demotic markers on two stones which were located in the rear wall next to each other. Description of the 18. Dynasty Temple The floor plan above shows the parts of the small temple of Amun which were built during the reign of Hatshepsut or Thutmosis III. The red lines (I-----I) in the chapels built by Hatshepsut mark the walls which had been decorated by Hatshepsut - all other parts of the walls were either decorated by Thutmosis III or sketched by Hatshepsut but carved for Thutmosis III (I-----I). . The drawing above shows a reconstruction of the small temple of Amun after the temple had been extended by Thutmosis III (Hölscher, 1930) Today's view of the south side of the part of the temple built during the 18. Dynasty, on the left of the 6 inner chapels (in the plan above left). Directly in front of the chapels Thutmosis III erected the sanctuary which is enclosed by a circulating gallery (right above). At the moment the chapels are not accessible. A 3 hours tour to visit this complex temple is available with a professional Egyptologist tour guide every day for 40 $ Click Here More tour itineraries from Luxor Click Here .

Medinet Habu

Colored Columns Medinet Habu is the modern name of the area where Ramses III built his mortuary temple.  Ramses III ruled Egypt for 31 years (c. 1183-1153 B.C.).  Medina means “city,” and Habu is the actual name of the city.  It is thus “Habu City.”  One straight axis runs through the temple, but originally there were a number of gates.  The entire temple would have been roofed in antiquity. Counting Hands Soldiers were often rewarded based on how many men they killed in battle.  To prove their valor, these warriors would present the hands of those they had killed.  In some of the autobiographies that the soldiers left in their tombs, they would claim to have participated in a certain campaign and have “presented so many hands” to pharaoh.  In return they were often given slaves or a medal of honor. A similar type of accounting is presented in 1 Samuel 18:27. Depictions of the Philistines In about 1175 B.C. Ramses III successfully stopped the Sea Peoples (including the Philistines) from invading Egypt.  This account is recorded on the walls of his mortuary temple.  The Philistines are known by their use of feather head dresses, swan decorations, two edged swords, spears, and rounded shields.  The majority of the Sea Peoples are clean-shaven, but a few Philistines are depicted with beards.