Hatshepsut Offering Incense to Min-Amun.

This sunken relief depicts Hatshepsut offering incense to the fertility god Min-Amun, most often represented in male human form, shown with an erect penis which he holds in his left hand and an upheld right arm holding a flail.

Detail of a carving from the Red Chapel of Hatshepsut or (“Chapel Rouge”) constructed initially as a barque shrine during the reign of Hatshepsut, the fifth pharaoh of the eighteenth dynasty of Ancient Egypt and ruled from approximately 1479 to 1458 BC.

Although it had been demolished and parts were reused in antiquity, following rediscovery, the chapel has been reconstructed using its original materials. Its original location is thought to have been in the central court of the temple of Amun at Karnak.

Temple in Luxor, Egypt. View of The Hypostylehall.

Inside Temple of Hathor at Dendera It is one of the best-preserved temple complexes in Egypt.

Silver Ring of Ramesses IV.

All three of these rings probably belonged to nobility or other private persons, not to royalty, The small bronze signet ring has the prenomen, or throne name, of Ramesses II. The scarab ring lacks his prenomen but has an associated epithet (“Beloved Of Amun”) and his nomen, or birth name (Ramesses).

New Kingdom, 20th Dynasty, Ramesside Period, reign of Ramesses IV, ca. 1155-1149 BC. Now in the Brooklyn Museum.

Ramesses III making an offering to Min-Amun

Sunken relief depicts King Ramesses III (r. ca. 1186-1155 BC) making an offering to the fertility god Min-Amun, detail of a wall carving in the Mortuary Temple of Ramesses III, Medinet Habu, West Thebes.

Ramesses II Smiting his Enemies.

Nefertiti Bust, sculpture detail, is a painted stucco-coated limestone bust of Nefertiti, the Great Royal Wife of the Egyptian Pharaoh Akhenaten.

Gold Mask of Tutankhamun.

 Probably the most famous artefact in the world, the 11 kg death mask of pharaoh Tutankhamun was restored in 2015. The work is more than just the careful repair of a 3300-year-old death mask.

In August 2014, cleaning staff in the Egyptian Museum in Cairo mishandled. They accidentally knocked off the beard of Tutankhamun’s death mask. In no time at all, they glued the separated beard back on with an insoluble epoxy resin ( also known as superglue ). This was not a good idea, as it later turned out: “ They didn’t reattach the beard in its original position, the beard tilted slightly to the left side,” explains Christian Eckmann.

The German is a recognized restorer from the Römisch-Germanisches Zentralmuseum, an archaeological research institute in Mainz. He was commissioned by the Cairo Museum to restore the death mask. It was feared that the valuable artefact had been irreparably damaged with the dilettante glue. Eckmann calmed the minds and said that the damage could be repaired. “ The beard was not only damaged during the work, but it was already damaged when Howard Carter found the mask,” Eckmann says. “

After the excavation, when the mask was brought to the museum, they had not reattached the beard to the mask - until 1946.” Nicholas Reeves then claims that Tutankhamun’s grave mask and many other treasures of the tomb were originally made for the queen and only later manipulated, namely when the king died unexpectedly young. Since 2001, research has suggested that it may originally have been intended for Queen Neferneferuaten; her royal name ( Ankhkheperure ) was found in a partly erased cartouche on the inside of the mask. Anyway, the mask originally consisted of two parts. Matchings with the faces of Nefertiti and Tutankhamun speak clearly for an adaptation of the mask for Nefertiti! The Egyptologist Chris Naughton, Director for The Egypt Exploration Society, tries to clarify the situation.

The mask is 54 cm ( 21 in ) tall, 39.3 cm ( 15.5 in ) wide and 49 cm ( 19 in ) deep. It is fashioned from two layers of high-karat gold, varying from 1.5–3 mm ( 0.059–0.118 in ) in thickness, and weighing 10.23 kg ( 22.6 lb ).

The Temple of Khnum at Esna.

The Temple of Esna is dedicated to the god Khnum, his consorts Menhit and Nebtu, their son, Heka, and also the goddess Neith. It dates to the Ptolemaic Period (ca. 305-30 BC) and was built of red sandstone, and its portico consisted of six rows of four columns each, with lotus-leaf capitals, all of which however differ from each other.

King Offering Ma'at.

 Gold-plated silver statuette of a king, probably Seti I, offering the goddess Ma’at, the goddess of truth and justice. The

New Kingdom, 19th Dynasty, Ramesside Period, ca. 1292-1189 BC. Now in the Louvre.

Amenhotep I before Min-Amun.

Block relief depicting the pharaoh Amenhotep I (r. ca. 1525-1504 BC) making an offering to the fertility god Min-Amun, Karnak Open Air Museum, Luxor.

Fragment Relief of Min-Amun.

The relief depicts the fertility god Min-Amun, shown in his ithyphallic form. The ancient Egyptian god Min of Coptos whose cult originated in the predynastic period (4th millennium BC). 

Min was a god of fertility and harvest, most often represented in male human form, shown with an erect phallus which he holds in his left hand and an upheld right arm holding a flail. Fragment of relief in the Karnak Temple Complex.

Armchair of Queen Hetepheres I.

The seat and the backrest of this chair are made of natural wood. They are surrounded by a simple wooden frame covered with gold leaf with high arms in gilded wood. The backrest of the chair is reinforced at the rear by a central support. 

The space between the arms, the seat, and the backrest is decorated with an elegant floral design, the dominant decorative element of the armchair. The floral design is composed of three papyrus flowers whose stems are tied with a band.

The front legs are shaped like lions’ paws, based on the ancient concept of protection given by lions. The front pair is taller than the rear pair so that the seat inclines slightly toward the rear.

The old Kingdom, 4th Dynasty, ca. 2613-2494 BC. From the Mastaba of Hetepheres I, G 7000X near the Great Pyramid of Giza. Now in the Egyptian Museum, Cairo.

MERYTETI.

Meryteti was the son of Mereruka and of Watetekhethor, the latter’s wife, who was herself the eldest daughter of the pharaoh Teti. For several years Meryteti was the putative heir to the throne of Egypt. He has only five rooms allocated in Mereruka's complex but does have its own burial chamber. The hazards of this situation are manifested in the decoration.

KAGEMNI Kagemni was a vizier at the end of the 5th Dynasty and the beginning of the 6th. His magnificent mastaba was decorated, as was usual at this time, with wall scenes.