Ancient Egypts 18th Dynasty Object Labels

 

6-2 Final Project Two, Milestone 3: Object Labels 

 

 

 

 

 

 

 

 

   HIS-665-Q5514 Museum Collection Management 

Professor Ricker 

Brent Stone 

                                                                   (August 15th, 2023) 

 

 

 

 

 

 

 

 

It is rare when there seems to be no apparent bright spot, presaged by duty, that can be sighted anywhere. At this juncture, I feel the urge to make a concerted effort to ferret out any benefits or would be upsides to whatever lies before me. It is unusual when upsides or bright spots are not forthcoming despite my efforts, in which case, elbow grease, academic or otherwise is the answer. This assignment, however, is full of fizz and ginger due to the topic in question. The 18th dynasty of Ancient Egypt.  

5 years ago, I would not have given a second thought to the topic of ancient Egypt. Such is certainly not the case now and I have decided to make the 18th dynasty the topic of my virtual exhibit in what is certainly a low-key compliment to the vast and extensive collection the Metropolitan Museum of Art in NYC has of ancient Egyptian artifacts. There will be ten primary objects in this exhibit with lesser ones that would equate to, in culinary terms, entrées. 

There will be ten artifacts (#1-10) with labels and there will be 3 categories. The categories will be personal items, statues and monuments and records and steles. Some rulers such as the last ruler of the 18th dynasty, Horemheb will only get a mention along with their picture and perhaps a tidbit or two. Others such as Ankhesenamun (the wife of Tutankhamun), Hatshepsut and Thutmose III will spend a greater amount of time in the spotlight.  

While elemental at the present, these object labels foreshadow an exhibit that will be aimed at arousing the curiosity of people within every group, age, interest and inclination. There really is so much in the 18th dynasty that, while not common knowledge, is interesting and unanticipated. It would be these unexpected situations and events that my virtual exhibit would capitalize on, whether the carrot is a story format, sequential and interesting facts, or a combination added to the traditional museum scene and seasoned with contemporary innovation and technology. This may not yet seem apparent in these labels, but the intent and planning are in the works. On to the labels of the 18th dynasty! 

Ahmose:  

 

Ahmose was the founder of the 18th dynasty. Unlike Akhenaten, Ahmose is a Pharaoh whom succeeding dynasties smiled upon. On the left there is his statue (entree) and, on the right is his golden armband (entree). The item (#1) of interest (Personal item) is the middle picture, which is a depiction from his battle ax portraying his conquering of (likely) the mysterious Hyksos just prior to reuniting upper and lower Egypt.  

Amunhotep I:        Tutmosis I:            Tutmosis II:  

He had no surviving sons.       His mummy is still lost.       He married his half-sister   Hatshepsut.  

 

Hatshepsut:  

For this ruler we have a double feature, a personal item (#2) and a monument (#3) along with three entrees. The second picture with the sweltering tourist in front of Hatshepsut's mortuary temple, falls under the monument category. Interestingly, the sun happens to set right behind the mortuary complex, directly opposite Karnak temple across from the Nile River. 

The 4th picture is Hatshepsut’s mortuary chest with her cartouche on it. It was discovered (along with many other royal mummies near the Valley of the Kings) not far from her, yet to be identified mummy. The chest, too long sealed, held the risk of breaking in the event of prying. Although the suspicion was that Hatshepsut’s mummy was among the royal mummies found near the valley of the Kings, there was no conclusive proof until part of a missing molar in one of the royal mummy’s mouth exactly matched part of a molar inside the chest, discovered during a CT scan.   

So, the chest is a significant personal item (#2). The first entrée/picture is her statue. The 3rd picture is the top of her obelisk which shows her in male regalia with Amun-Ra (two feathers in the crown, upper and lower Egypt) seated on a throne behind her along with her cartouche. The last picture is a digital reconstruction of Hatshepsut’s mummy. (temple/monument #3) 

Tutmosis III:   This is another double feature, and it involves the Napoleon of ancient Egypt! He is not as well-known as Ramses II. He did have greater military success and there is no record in ancient Egyptian history that he lost a battle, though how and why he died has been a mystery. The first statue does not look like the second statue (#4 statue) from the British museum. On the front of the second statue would be the cartouche of Ramses II, and on the upper rear of the second statue, almost obscured, is the cartouche of Tutmosis III. Royal reappropriation! The second picture is the cartouche of Tutmosis III which is taken from his obelisk in the 4th picture. The fifth picture would be a stele (#5 records) commemorating one of his 17 victories!                               Amenhotep II:           Tutmosis IV:       Amenhotep III:   

His brother, Amenemhat,          His mummy is well                   He is regarded as one of the  

1st son of Tutmosis III died       preserved and looks youthful.   more successful Pharaohs of the   

under unknown circumstances.                                                   18th dynasty.  

 

Akhenaten:                                                                                       We have here another double feature! It is fair to say that Akhenaten (Amenhotep IV) received about the same treatment from succeeding dynasties as Richard III received from the house of Tudor. Both were vilified in every possible way. Akhenaten was known as the heretic Pharaoh for attempting to switch Egypt (or Kemet as it was known at that point) from polytheism to monotheism.  

There is some information which hints that his main offense was in trying to thwart the growing power of the priests of Amun. The nobility (or Nomarchs) had, for the most part disappeared at the tail end of the 12th dynasty. Besides the Pharaoh, there were no longer any nobility to compete with the priests for power. Interestingly, Akhenaten’s statues all look alike. The first picture is a statue (#6) of Akhenaten and the second picture displays (#7 records) his cartouche which is much more crowded than the cartouche of a traditional Pharaoh. The third picture/entree is of Akhenaten worshiping Aten. Where Akhenaten got the idea for monotheism is an interesting mystery... 

Neferneferuaten:                      Smenkhkara:     

There is unconfirmed speculation that         Most historians believe that Smenkhara 

this ruler was Nefertiti, Akhenaten’s           was a daughter of Akhenaten and Nefertiti who 

Queen who ruled for a short time.               also ruled for a short time.  

 

Tutankhamun:  

For this section there cannot be too much said that the public doesn’t already know about. But does the intent of interest and surprise stand a chance without subsequent attempts? The latest information is that Tutankhamun died away from Egypt in battle and, among other significant injuries, there are ribs missing from his right side. And unlike other Pharaoh’s it does not seem as if the embalming process for him was entirely desirable or successful. The first picture is an entrée and the second (#8 personal item) is an exact copy of the chariot found in his tomb. This would fall under the category of a large personal item. The picture was taken in Seoul Korea at the Korean War Memorial Museum on loan from the Berlin Musuem 2021-2022.    

Ankhesenamun:  

Very little if anything is ever said of Ankhesenamun, Tutankhamun’s wife, whether because he overshadows her or because some people believe that they have no chance at pronouncing her name and even less inclination to try. The first picture (#9 statues) taken at Luxor(?) temple would be seated statues of Tutankhamun and Ankheseamun and this would fall under statues and monuments. The second picture of the couple, specifically the Queen would be from the golden throne of Tutankhamun. The next entrée picture would be of a reconstructed vase with the cartouche of both the young King and Queen. The next item (#10 records) would be a communication from Ankhesenamun to the King of the Hittite Empire, who happened to be their rival superpower at that point.  

It is addressed to the Hittite King Suppiluliumas and it is in the Hittite script which explains why there are no ancient Egyptian hieroglyphics on it. In short, Tutankhamun had died, and the communication was received with dubious interest by the King of the Hittites. It was a marriage proposal. Ankhesenamun was desperately trying to remain in power. In the end the Hittite King sent his second son who was ambushed on the way to Egypt to marry Ankhesenamun. She disappears from Egyptian history after this. Ay:                                                                              Horemheb:  

It is speculated that he was a relative of Ankhesenemun.   The last King of the 18th dynasty.

Collection Policy Review

 

This has been a very interesting project. If I had heard the words ‘Collection policy review’ in the past before knowing what it meant in the present, I might have guessed that it had something to do with either culinary pursuits or the justice system. Before this class began, I made frequent mental notes reminding myself that I needed to dig in early. “Make certain,” I told myself several times “that you do not get behind.” As well-intentioned as these mental notes were, there were some things I did not anticipate such as getting ill (which is rare for me), though I certainly anticipated my job sponging up copious amounts of time, which is to be expected. And to my chagrin, I found myself asking for yet another deadline extension which I am not ungrateful for.  

But there is certainly a bright side! I was finally able to get my hands on a collections policy copy! Before this development (during a stretch of several weeks), I telephoned and wrote numerous emails in an effort to get a collections policy. The fact that I live overseas was an added complication and challenge to overcome. I had not been able to get a copy of a collections policy from any institution I wrote. Even when I mentioned in the titles of my emails that I was interested in donating to certain museums I still got no response.  

I would not have minded donating a small sum to a museum for model railroading, or a museum that houses the Spruce Goose. I was sure this subsequent tactic would help me get noticed and assist me in acquiring a copy of their respective collection policies. But, surprisingly, no. A few days ago, in frustration (after I had received no word from the institutions I had written to) I went on Duckduckgo and typed in “collections policy copy,” and one of the results was the collection policy of some institution/museum called, at first, what I though was MET, but was actually the Metropolitan Museum of Art (MMA) in New York City. Well, here at last was a collection policy! Initially, I did not realize what a mammoth institution the Metropolitan Museum of Art in New York City was, and I would say that, as far as my memory serves me, it might even rival the British Museum. 

I found the collections policy of the MMA to be very sensible. I would say that they covered their bases very well and of course I will be expanding on this soon. Their opening statement is certainly lucid, admirable and relevant.  

“The Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the city of 

New York, for the purpose of establishing and maintaining in said city a museum and library of 

art, of encouraging and developing the study of the fine arts, and the application of arts to 

manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to 

that end, of furnishing popular instruction." 

I could certainly say that the MMA is a collections-based institution. This is significant for several reasons. If it was not a collections-based institution, then their collection policy itself (19 pages) would not need to be as lengthy as it is. Also, it would probably mean that the museum in question, whether because of finances, space or human capital had no foreseeable plans to expand. In terms of their collection, this is not true of the MMA. In the collection policy there is a section called “Purchas Procedures,” and this of course adds finality to the truthful assertion that MMA is a collections-based museum.  It makes me wonder if there are many museums that are not based on continual collecting, but I can investigate that later. Considering that the opening statement was written in the 1870’s, it has weathered well in terms of what it conveys in today’s English.  

The collection policy upon a first and second reading does not seem amiss when stating and agreeing with the aim of the institutional mission. (This statement is reconfirmed in this italic tail-end edit/insert.) It truly does advance the general knowledge of kindred subjects. I have stated that the opening statement has weathered well. It is possible that others might not see it this way, and this could reflect my love of etymology in that archaic lingo does not strike me as abnormal but rather, in a classical sense, it rubs me in a style reminiscent of past values and scruples that are lacking in today’s world.  

The MMA is an art Museum, and I spent some time on YouTube watching video tours of this extensive museum. I was surprised that an art Museum could be so broad in terms of what was considered art. In one of the initial lobbies was a large, sitting statue of the Egyptian Pharoah, Amenemhet II. I began to suspect that my understanding of what constituted both art and the fine arts might be narrow. The MMA seemed more akin to a general history museum than an art museum, but perhaps this musing could be termed a technicality at this point.  There was a lot of interesting history there and I now have a reason to visit NYC.  

The MMA collections policy has conscientiously amassed a bullwork of insurance ramparts against the MMA being sued, being taken advantage of, being cheated, being manipulated, being hoodwinked, getting the shorter end of the stick, losing money, being stuck with forgeries and many other downturns of what might otherwise be called fate...to the disinterests of the museum. There does not seem to be a chink in their armor that would be opportunists might espy for their own coffers or interests, whether those persons work for the museum or not.  This could certainly be placed under the strengths category.  

As to the weakness category, the first item that came to mind was that, for a collections policy that was last revisited by the board of trustees and stakeholders in May of 2023, there did not seem to be much of a word on recent digital or technological advances. In the video that I saw, aside from digital screens every once in a while, I could not detect a great amount of digital renovation that the contemporary patron might harmonize with. As to placement and space between the exhibits, as well as good taste in relation to what was, and should be a promenade from one area to another, I felt that I could not improve on it at all. I was impressed, informed and appreciative of the museum's style and sense of what worked.   

The de-accession policies were sensible and to the museum’s distinct advantage. If the museum had paid a hefty price exceeding $50,000 then the item in question would not be permitted to be de-accessioned for the next 25 years. If it was my decision and the museum paid $50,000, I would specify that the period should be 50 years. The inventory of the offsite works of art, in whatever curatable department, is specified to be reviewed by that department every year.  There is not a lot of space given to de-accessioning, but what is there is straightforward and concise.  

As to object loans policies, the variety of loans fall into several classes as stated by the collection policy and are divided up according to the situation under which the loan is considered along with the stipulation of who must approve the loans whether to a person non-associated with the museum or someone working for or connected with the museum. Some pivotal considerations for whether the loan is approved would be duration, conditions, insurance and indemnity. Ironclad is an adjective that could, in many respects, describe MMA’s collection policy.    

Regarding the opening statement and the alignment of the policies to the institutional mission, I have not seen any egregious or mild disaffection between what the MMA has conveyed in their mission statement and the collection policies discussed thus far. I mentioned earlier that the collections policy seemed to me to be on the longer side, but I am second guessing this observation (and second guessing second guessing) because having gone over the collections policy for MMA several times, I have encountered no word on preservation regarding any works of art, the museum’s efforts at restoration or how they store different types of items and artifacts. There was a brief mention of items that were stored in a facility offsite, but no further information was provided on that point. It was conspicuous by its absence in the collection policy, and I have not been able to come up with a good reason as to why though I have theories. 

I am not certain, but this might perhaps be because issues of this sort are less under the auspices of the collections policies and more closely linked with how to engage patrons and stakeholders.  There does not seem to be any mention of procedural documentation and I don’t know why. Also, there does not seem to be any mention of hands on or interactive learning, though perhaps, if I had watched more of the recent video tour of the MMA on youtube, I might have seen something of this nature.  

It would seem to me that more interactive displays, and hands on learning might be suggested or put to good use for the sake of the different learning styles in the diversity of stakeholders and patrons who visit the museum. I am becoming less certain as to if I should expect to see this in the collections policy. Diversity of learning styles would be a good strategy. As a teacher, I have tried to incorporate activities that capitalize on the different learning strengths of different students whether they are visual, auditory or kinesthetic learners, and a museum could benefit from this kind of strategy. This would be a good step towards meeting the needs of today's museum audience and interactive displays and hands-on learning are relevant aspects of this. Should they be included in the collections policy? I am still mulling this over.   

While I observed quite a bit in the video that I saw regarding the MMA, I must reassert that I could not improve on any of the museum environments that I saw in the video. It was inviting, uncluttered and had the natural and preplanned tendency of guiding patrons from one exhibit to another and one room to another. And I could say of the collection policy that it flowed well too, from one topic to another, though again, there were some topics I thought to see covered that were not. Like the museum itself, the policy did not depart from the opening statement regarding its mission, and the providing of many finer details in the policy was on the same tune as the overall policy. 

 I would say that the adequacy of the collection policy, while not addressing some points that may or may not belong in a collection policy, such as methods for engaging patrons, was holistic in the sense of informing patrons and stakeholders of just how and in what manner the museum would handle its collection. This point was not in question and the museum is indeed worthy of praise and commendation regarding this. I would say the application of principles and theories is well expressed in the collections policy. I have learned so much in such a short period of time. Whether or not I work in a museum, I believe that I will remember what I have learned, and it would be interesting, some day to have the chance to see what I have learned put into action.     

Sources: 

1. https://www.metmuseum.org/-/media/files/about-the-met/policies-and-documents/collections-management-policy/Collections-Management-Policy-May-2023.pdf 

2. Ambrose, Tim, 1993, Museum Basics, ICOM in conjunction with Routledge, London, New York, https://archive.org/details/museumbasics0000ambr/page/12/mode/2up?view=theater