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The sculpture does brows are never incised, but only suggested by the bone not lack of care from the sculptor, however it does show structure — however, they were perhaps painted. A statue certain awkwardness, which forbids us to see it as the found in Serabit el-Khadim also shows the same qual- product of a royal workshop: It represents the igures, imprecisions in the features of the face.

How- chief of a mining expedition. The kilt of the owner is tied above the the presence of a royal sculptor, or a sculptor trained navel; he wears the traditional striated wig, pushed back in the royal workshops, in the team of the expedition behind the shoulders. All features of the soften version of It is thus possible to identify a lower-elite style, per- the face of Amenemhat III are present.

The long kilt is haps a provincial one, of the reign of Amenemhat III. A tied above the navel, and the wig is smooth and undu- series of other statuettes, single or groups, may be at- lating, following the characteristics of the style of this tributed to the same period, according to stylistic criteria reign.

Baltimore Boston However, dle Kingdom and Second Intermediate Period. The represented hwhat lower than the statues of the king and of the high characters certainly do not belong to the modest levels oficials. They are all of small dimensions and in mate- of the population, but more probably rather local elites rials less prestigious than the stones of the upper-elite or lower levels of the national elite oficials, but also statuary: Statues The private statuary attributable to the reign of Ame- from this category follow the model of the upper-elite nemhat III seems then to have followed, for the higher sculpture.

However, their dimensions are smaller, ma- oficials as well as for the lower levels of the elite, the terials are generally softer mainly limestone and stea- model of the softened portrait of the king style of the tite and their style is usually of less ine quality. Augenblicke 48 Brooklyn Semna Kumma, 33, pls. Statuen und Statuetten, vol. II, , pl. These Studies III, , n.

Howev- house, Ancient Egypt and Nubia in the Ashmolean Museum, er, at least twenty-eight expeditions were sent to Sinai under , ig.

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Field Museum A. Some varia- lower quality of carving and in less prestigious materi- tions may be due to the quality of sculpture and the ma- als soft limestone, sandstone, serpentine and steatite.

The expressive physiog- Middle Kingdom, from Senusret III until the late Thir- nomy of the mane sphinxes and the colossal statues of the teenth Dynasty. The statue of Nemtyhotep in Berlin deinitely belongs It is obviously a style, which is reserved to a particu- to the upper class corpus. However, as this kind of statue, of large size, statues54 no preserved private representation shows the prestigious material, and royal-like quality, is typical of features of the expressive version of the portrait of the the upper-elite, it may be proposed then to attribute it, sovereign.

Grajetzki and D.

As noted above, the inscription Higher oficials and members of the lower levels of elite on the statue seems to consist only in a rough draft. It is were using the same forms of statuary. Both categories then possible that only the abbreviated title of the owner are represented in the same positions, the same gestures, has been written — it was probably just meant to identi- the same costumes and wigs and the same stylistic model: Such On the other hand, the quality and the material, as a statue is indeed typical of the category of upper-elite well as in many cases the size of the statue, depend on the sculpture and would be suitable for a high oficial.

Statues of the highest The statue was bought by Borchardt in Asyut in Was it installed in a dimensions, in hard materials granodiorite, quartzite, temple, which has now disappeared? Late Middle King- ine limestone and present the same quality and physi- dom statues of such quality and size of high oficials are ognomy as the royal representations. Statues of the lower usually found in temples or local sanctuaries.

However, oficials and provincial elites are of smaller dimensions, it may also come from the Siutian necropolis, where the nomarchs of the irst half of the Twelfth dynasty have 54 The statue of the governor Heqaib II in Elephantine habachi, been buried. The Sanctuary of Heqaib, no. The last ones seem to date 55 The corpus of statues of gods from the reign of Amenem- to the middle of it.

Nevertheless, which follow also an attenuated version of the face of the the name of the owner of the statue, based on the name sovereign.

However, they show the wide and elongated eyes of the sover- The closest example is the necropolis of Qaw el-Ke- eign, as well as his ears with prominent lobes. The torsos of the male deities including those with a crocodile- or a bull-head, bir, where the large statue of the governor Wahka III for example are more related to the monumental and expres- Turin S.

For example: The dating of this statue has been subject to many discussions. How- ever, its style points to the very late Twelfth Dynasty or even perhaps more probably the beginning of the Thir- teenth according to the form of the wig, the modelling of the facial features, the treatment of the elongated al- mond-shaped eyes and the large mouth with a smile.

None of the three huge funerary chapels in Qaw el-Kebir can however be dated so late in the Middle Kingdom. The monumental program of the architecture and of the decoration of these tombs of quasi royal appearance, correspond to the irst half of the Twelfth Dynasty.

The style of the statue clearly points to a much later date, and its owner has thus to be identiied as a third gov- ernor named Wahka. Instead of building, like his pre- decessors, a fourth large funerary complex, which was no longer allowed or economically possible for a pro- vincial governor at this time, Wahka III son of Nefer- hotep installed a large statue of himself in the chapel of the founder of his lineage.

Le credenze religiose, , pl.

Unknown Style with nemes v. I, , ; vol. II, 31, pl. Unknown Style etten, vol. II, 66, pl. I, pls. I, , ig. Excavating Egypt, 22, no. Style v. Unknown Inscription Unknown? Ri ed. Le credenze religiose Milan, , Empire, avant J. Paris, FReLinghuYsen et dunand, M.

The Havemeyer Collection New York, , Janssen, Semna Kumma: Excavated by bagh, T. Jozef M.


Janssen Boston, Egyptian Personiication and engeLbach, R. FaY, B. Cata- of Amenemhat II Mainz, Reeves, J. Catalogue of eds. Egyptian studies in memory of Cyril Egyptian Art Cleveland, Aldred London, , Actes du colloque ra: Das Labyrinth: EU 20, EAO 31 , Romano, d. CGC, FischeR, H. Egyptian art in the BMMA 17 , Middle Kingdom. Exhibition organised by the Fitzwilliam FischeR, H.

Varia Nova New York, FRanke, D. QuiRke ed. Etude habachi, L. The Sanctuary of Heqaib May- architecturale Paris, Limme, J. From the Earliest Times to the End of the naere Bruxelles, , Middle Kingdom New York, Ny Carlsberg Foisse eds. Palais glyptotek Copenhagen, CAJ 5 , Viertausend Jahre Men- Cairo, Leibovitch, J. Arte egizia Rome, Der sog.

Raccolta egizia Milan, WaRmenboL ed. VESE 6, London, 20 January - 6 April Berne, Page-gasseR, M. Augenblicke der tRoPe, b. QuiRke, P. LacovaRa, Excavating Egypt: Great Ewigkeit: PeRnigotti, S. PetRie, W. The Tombs of Qau London, Les PetRie, W.


WainWRight, e. I can't wait to show you around this magical city. My only expectation was to kill time for three or four days and then get out.

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After my studies, I lived in London and worked in universities. I first visited Berlin 10 years ago as an art student and have lived in Berlin on-and-off since I also spent time in Estonia. My interest in Berlin's history started from watching the amazing scenes on the Berlin wall falling in as a child, and now enjoy continually learning about the different eras of Berlin's history.

I live in Berlin since and have been leading tours for Berlin Walks dealing with Hitler's Germany and the history of the Third Reich for over 15 years. I was only meant to stay for two months, but ended up moving my life over here. And thanks to the wonders of the internet, my university was ok with the move. It really is unlike any other European capital. After finishing studying I stayed in Edinburgh for three years working in a specialist ladies shoe and boot shop and am still able to measure a ladies calf on sight from up to ten paces away!

I then went on to work in a Royal Scottish Palace. The plan was to stay for the summer then go home and go study Law. The handbooks: Berlin — Design For All: They aim to be simple and intuitive, give orientation for the planning process and give concrete assistance to update existing construction codes.

Since , both handbooks are mandatory for all Berlin State construction projects. They have been translated into English and Russian.

Beyond the usual building codes, public building projects in Berlin are subject to additional quality standards as outlined in the handbooks Berlin — Design For All: Public Outdoor Space of Both handbooks are legally binding for Berlin state building projects as stipulated by the Senate of Berlin. A concept on accessibility In the planning process of construction developments, an overall consistent concept has to be drafted, promoting Design for All as an integral part of administrative, planning and implementation processes.

Involving persons with disabilities Since , Berlin has worked closely with disability organisations, disability commissioners and the state disability advisory board, through the working group Barrier-Free Construction and Transportation.On those, the material, To summarize, within the statuary corpus of Ame- an indurated limestone, reduces the contrast between nemhat III, two main tendencies can be distinguished: He could hardly intensify the plastic treat- hind the shoulders or framing the face, with two point- ment of the features of the face.

Louvre in which a man is represented wrapped in this mantle. On high quality ig- Antikenmuseum. Some peculiar features, of the surface as we can see for example with the frag- like the broad chin or the smiling mouth, appear on piec- ments of the quartzite colossi of Biahmu, or the indurat- es from different sites: The sculpture does brows are never incised, but only suggested by the bone not lack of care from the sculptor, however it does show structure — however, they were perhaps painted.

This difference of physiognomy related to the type The statues from Medinet Madi Beni Suef JE of statuary might suggest that both opposite styles were and Milan E.

Leibovitch, J. I spent the next year teaching three and four year old German children how to talk and sing! Grajetzki and D.