Remember how she said that we’ll meet again some sunny day…
Dame Vera Margaret Lynn CH DBE OStJ (née Welch; 20 March 1917 – 18 June 2020) was a British singer, songwriter and entertainer whose musical recordings and performances were largely popular during the Second World War. https://en.wikipedia.org/wiki/Vera_Lynn
I have got the news yesterday that Vera Lynn has been passed away. Honestly, I didn’t know she’s still alive although, she had lived very hidden from society.
Of course, she is a famous and very beloved singer and I’d say she was also one of the great helpers to win WWII with her encouragement and wonderful voice. Though, we have known her by Pink Floyd’ album “The Wall” as Roger Waters sang about her and one of her beautiful encouraging song; “We will Meet Again Some Sunny Day”
From that time we loved and appreciated her voice and have listened to her songs lovingly.
She was and is an Adorable Dame and will stay in our hearts forever 💖💖
Anyway, She died in her 103rd of her life and it is a good age for saying farewell. RIP dear Vera Lynn, I wish your soul calmness and blessing 🙏💖
Here I like to share this great song again because it is timeless. 😊💖
Let’s begin with this and its meaning; Love You! What would we mean to say these words? You have surely said it at least once in your life, don’t you? There might be some who deny it as I do believe I haven’t told this till I became convinced what it really meant; to me and the one whom it’s been meant. Al, my brother (sorry that I can’t write or think anything without thinking of him as he’s always by my sides.) He called me Data, in the memory of the robot; Data, in the TV series; Star-trek, Next Generation. Because he was a key for mankind to be able to control its feelings, though, he wished to be or at least can feel the human’s soul, he was the coolest creature in this series. You know, Al was an artist and totally sensitive as any genius artist is, therefore, he stunned about my coolness through my behaviour towards others. I am sure he liked my reactions, he was aware of his high sense of feelings and he had missed this coolness, he was very happy to have a couple to put this in when it’s needed.
Here he, on the left, trying his best to be cool
I must confess that it wasn’t so easy to be so cool, but I had to find the missing points in our way to handle with the outer world, society. It could actually be named love, don’t you think so? I have offered and sacrificed all my wishes to my brother, my love.
So but to see it essentially we must go back to the ancient thoughts; Greece. In history, if we begin with Greece, in a philosophical way, The Greeks had a third word for love: agape (ἀγάπη) unconditional love, charity. This can be best translated as a charitable love. … Having these three words to hand – eros (Body’s Lust), philia (a brotherly familiar love?) and agape (the charity)– powerfully extends our sense of what love really is. The Ancient Greeks were wise in dividing the blinding monolith of love into its constituent parts. Here are the seven kinds of love according to the ancient Greeks. Eros: Love of the body. Eros was the Greek God of love and sexual desire. … Philia: Love of the mind. … Ludus: Playful love. … Pragma: Longstanding love. … Agape: Love of the soul. … Philautia: Love of the self. … Storge: Love of the child. there’s a famous theory about why did Zeus split humans in half? how isn’t surely important! But it is an idea which can be thinkable; you are all in the search of our lost couple, trying to find someone whose smell, face, or even the voice remember you of some trusted lost one.
I myself, after so many searches on Love, finally came to this that Love means passion, forgiveness, wishing well; the all best one can do for one’s loving, not owning or occupying, just giving and enjoy the other’s happiness. Al would surely drop between and say; logical till to the end! It might be so, why not? Why we won’t consider love logically? I am sure that is possible; You love somebody it’s okay but what you want to earn by that, is it a negotiation for us or it is something else? To put it bluntly, I have a feeling sometimes that the peoples don’t love but to try to sell and earn something; negotiations!!
Just be honest, don’t you expect your lover gives you back what you give in? that is in my opinion Negotiations! And I have found out the Love is; not negotiations but just give without expectations… and send your love in her/his own way for fortune. Let’s Love wins 😊💖💖🙏
Na, what do you mean, if we just love, only love and nothing else, just love the happiness which we see in the expression of the one we love.
Portrait called “du Fayoum” representing a young woman in red Roman Egypt – 90 – 120 AD – Encaustic painting on the lime tree, gold leaf Acquired by the Metropolitan Museum of Art – Credit Line: Rogers Fund, 1909 – Accession Number: 09.181.6 at the antique dealer Maurice Nahman in Cairo in 1909 – Photo du Met
There’s no doubt that we men, might accept the loos comparing to women. Because, if we consider being on the same level with the female side, we can’t hold out with their beauty. Here another wonderful description of this beauty. by http://Marie Grillot
The features of this beautiful young woman are unquestionably “contemporary” … and yet, she lived over 19 centuries ago, when Egypt was “Roman” …
Her face is beautiful, interesting, it seems to question us beyond time … The slits which cross it, the cracks which gangrene the left cheek in no way tarnish its softness, nor alter its “presence”.
The complexion is treated in light tones … The mouth, with its slight asymmetry of the upper lip, is nicely drawn. The chin is barely bulging, the nose is thin…
As is often the case with this kind of portrait, our gaze is captivated by the gaze, animated by large almond-shaped eyes. The white of the cornea with its transparency so special is perfectly rendered, we almost seem to detect the outline of a tear … The dark iris and the pupil, very round, are marked with concentric circles. The expression of the look is serious but so alive …
Portrait called “du Fayoum” representing a young woman in red Roman Egypt – 90 – 120 AD – Encaustic painting on lime tree, gold leaf Acquired by the Metropolitan Museum of Art – Credit Line: Rogers Fund, 1909 – Accession Number: 09.181.6 at the antique dealer Maurice Nahman in Cairo in 1909 – Photo du Met
This gravity is accentuated by the dark arch of the thick eyebrows which faithfully follows the shape of the eyes. The lower lashes are materialized by fine, spaced and black lines that stand out against slightly grey rings. The upper edge of the eye is underlined with a line of “kohol” but the eyebrows are not treated individually. As for the corner of the eye, it is affirmed by a touch of fleeting paint.
The brown hair is styled in a multitude of fine, tight curls, which are a little freer at the level of temples and ears. A precise study of the hairstyles was made in order to refine the dating of these portraits of Fayoum; thus: “Loose loops around the face with corkscrew loops in front of the ears suggest a date of around 100-120 AD” (source “Ancient Faces”).
Portrait called “du Fayoum” representing a young woman in red Roman Egypt – 90 – 120 AD – Encaustic painting on the lime tree, gold leaf Acquired by the Metropolitan Museum of Art – Credit Line: Rogers Fund, 1909 – Accession Number: 09.181.6 at the antique dealer Maurice Nahman in Cairo in 1909 – Photo du Met
The hair is adorned with a golden crown, perfectly rendered by flat areas of gold leaf, which take the form of rectangles or diamonds.
The earrings, also covered with gold leaf, are difficult to identify … It could be two or three spaced pearls, arranged on an oblong rod, in gold, a model in fashion at that time … Quant its necklace, choker, it is made up of large gold links, round or oval …
She is dressed in a “clavi tunic” which must have been a vermilion red but whose hue has faded over time. We can see the drape of a coat, in the same tones. The lines of paint skillfully suggest the folds of the clothes as well as their superimposition.
“This portrait is painted in the Greek style: the head is seen in a three-quarter view with indications of volume and depth, and with reflections and shadows that suggest a single source of light. From the middle of the first About the same century, portraits of panels of this style were sometimes inserted on the faces of mummies. The custom was particularly widespread in the region of Fayoum in Egypt, where the population had a strong mixture of “Greek” “analysis” The Year One: Art of the Ancient World East and West “.
Dated from the very beginning of the Christian era (90 – 200 AD), this portrait is exhibited at the Metropolitan Museum of Art in New York (Accession Number: 09.181.6.) On their site, it is thus described: “The background of this portrait was originally gilded, underlining the divine status of the deceased young woman. She looks at the viewer with large serious eyes, accented by long eyelashes. A mass of loose curls covers her head and some strands fall along the nape of the neck on the left side. Framed by black hair, deeply shaded neck and dark red tunic, his brightly lit face is distinguished by an attractive youth, an impression which is accentuated by the crown of and sparkling jewellery “. Time has made the gilding go…
In the Louvre book “Portraits of Roman Egypt”, it is specified that: “The presence of gold on portraits painted on wood must reconcile divinity and individuality, consequently gold is never applied to the face. Thus, it can cover the frame surrounding the head of the deceased assimilated to Osiris-Dionysos, or cover the background on which the portrait stands out. Gold leaf is sometimes applied in contact with the skin, on the line which shares women’s hair or on their throats. “
Portrait called “du Fayoum” representing a young woman in red Roman Egypt – 90 – 120 AD – Encaustic painting on the lime tree, gold leaf Acquired by the Metropolitan Museum of Art – Credit Line: Rogers Fund, 1909 – Accession Number: 09.181.6 at the antique dealer Maurice Nahman in Cairo in 1909 – Photo du Met
This portrait is painted “encaustic”, on a linden plank with a height of 38.1 cm and a width of 18.4 cm.
The technique of this type of painting was as follows: the surface of the wood (lime, or even fig, cedar, sycamore) was previously smoothed and coated; the sketch was then executed in red or black. “Then the portrait was made using mineral and vegetable pigments linked with heated wax (encaustic), which allows a slow and meticulous work resulting in small close touches for the face, the neck and the hairstyle, the clothing being treated with large brush strokes. “
“Tempera” which uses a binder based on vegetable gum is also used. “It gives a flat and graphic character to the portrait and translates the model by a network of fine cross-hatching.” Sometimes the two techniques are wisely combined by the painter. The colours generally used are white, black, red, two ochres. Gold leaf is often applied, sometimes in the hair, sometimes in background colour and always to make the shine of adornments and jewellery.
The artists who produced these portraits were “itinerant” and never signed them; so they remained anonymous… but there is no doubt that the one who painted it was an excellent portrait painter!
We know almost nothing about this beautiful lady who lived in Fayoum during the 1st century AD. AD, except that it had to belong to a wealthy class because only the wealthy could afford quality funeral rituals… At that time, after being Greek, Egypt became Roman and cosmopolitan, mixing Egyptians, Greeks and Romans. The new “masters of the country” adopted the funeral customs of Pharaonic Egypt and the Romans introduced the art of portraiture.
How did she get into the great New York museum? This indicates that this man did it, thanks to the Rogers Fund in 1909 and also, it had been bought, the same year, in Cairo, by Maurice Nahman…
Maurice Nahman posing in front of his gallery in Cairo in the 1940s (photo from Galerie L’Ibis)
The “Who was Who in Egyptology” informs us that this man was born in Cairo in a line of bankers and that he will follow the family’s professional path. His retirement will then allow him to devote himself to his passion: antiques and, from 1890 to their trade. His reputation will be excellent and, in 1913, he will open a gallery at 24 Madebergh Street (now Sherif Street) in Cairo, where the biggest museums will come to stock …
This is how this beautiful lady from the old world set out for the New World…
Greetings from somehow deep in my retirement chair, I just wanna say; I’m getting used to it! Actually, these all days which have been passing by, I was a little confused on how to arrange all my time as a retired man but it seems that I get the thread in the hole. 😉
Let’s first update my situation; I could get my screws in my gums with no problems and got alive out of doctor’s office! Now I have to get some cover on these screws to be able to chew, but let it be this theme. (I don’t want to show any pics thereabout!) 😏😅🤣🤣
Anyway, my lovely daughter in law with some great help (not just a little as you will see) from my son (her desired man) was born a little sweet beautiful (what else😉) boy named Ilias.
Ilias
Although, these times were a hard test for us, grandma and grandpa, because, we had to care of Mila, the latter child; almost one and a half-year-old, and sometimes you will recognize how old you have become. At days playing all possibilities and at nights waking up by being called; Opa, Opa, (the German word for grandpa.) but I will do it again because I love her so that I want sometimes to eat her (also, she has to hurry up to grow!!) 😅😂😂
And the story of the birth; it was about 4;30 o’clock in the morning of Sunday 31th of May that the Telephone ringing woke us up and my son told that it seems he’s coming! My wife as she always is got quickly ready to take there for help. I (after some sitting with my close friend Jack Daniel’s, stayed at home😁) thought it would be all right and they’d get to the hospital but after about two hours, she came back with Mila and told me excitedly; the baby has been born!!
I was naturally stunned and asked; how could it be possible? She said that when she came in, the birth pangs had already begone and the mother just shouting “it comes!!” My son has just done something remarkable, he had called emergency and they guided him to give birth to the baby himself till they come. And I am very proud of my son Raphael, who very cool, as my wife described, had operated the action.
Now I have two grandchildren and also retired but to put it bluntly, I don’t feel like as…
Opa + Ilias + Mother in the background
So! This video, in the matter of fact. Regina, my adorable wife, had sent me this video clip as she knew by herself that sometimes the retired men need some rest for nothing to do… she is really fair, though /// 😉🤣😍💖🙏
Dr Carl Gustav Jung on this day, in the year of 1961, has left the earth. it is surely not something new for his admirers. I have become one of them in my youth, of course with a little help from Al, my brother.😉🙏💖
Those days, we were both interested in psychology which had been founded by Sigmund Freud and thereafter, as we got to know Jung and his open-minded theories, were much more fascinated.
There is no doubt that what has this genius done in the way of knowing our inner soul is not less than any pioneer humanistic.
Jung believed that the collective unconscious is made up of instincts and archetypes, that manifest basic and fundamental pre-existing images, symbols or forms, which are repressed by the conscious mind. Humans may not consciously know of these archetypes, but they hold strong feelings about them. via https://www.verywellmind.com/what-is-the-collective-unconscious-2671571
Here I share one of his latest interviews about the Believe and the Death. He will always remain a great teacher for me. Thank you. 🙏💖💖🙏
The audio might be not hearable, here is the text of his words to read; with Thanks 🙏🙏 This dialouge was written down by kierah16. She has her own channel here on youtube. Thank you very much, Kierah16. Interviewer: I know that you say death is psychologically just as important as birth and like it is an integral part of life, but surely, it can’t be like birth if it is an end. Can it? Jung: Yes. If it is an end and there we are not quite certain about this end because we know that there are these pecular faculties of the psyche- that it isn’t entirely confined to space and time. You can have dreams or visions of the future. You can see around corners and such things. Only igonrants deny these facst (ja – german). Its quite evident that they do exist and have existed always. Now these facts show that the psyche- in part, at least- is not dependent on these confinements. And then what? When the psyche is not under that obligation to….live in time and space alone- and obviously, it doesn’t. Then, in .. to that extent, they psyche is not submitted to those laws and that means a..a practical continuation of life of a sort of psychical existence beyond time and space. Interviewer: Do you- yourself believe that death is probably the end or do you believe…. Jung: Well, I can’t say – wissen Sie ? (german translated wold be: you see ?)- the word “believe” is a difficult thing for me. I don’t “believe”; I must have a reason for a certain hypothesis. Either I know a thing; and when I KNOW it, I don’t need to believe it. If I- I don’t allow myself, for instance, to believe a thing just for sake of believing it. I can’t believe it! But when there are sufficient reasons for a certain hypothesis, I shall accept these reasons naturally. And to say “We have to recon with the possibility of [so and so].” You know? Interviewer: Well…now you told us that we should regard death as being a goal and to stray away from it is to evade life and life’s purpose. What advice would you give to people in their later life to enable them to do this when most of them must, in fact, believe that death is the end of everything? Jung: Well…you see I have treated many old people and its quite interesting to watch what their conscious doing with the fact that it is apparantly threatened with the complete end. It disregards it. Life behaves as if it were going on and so I think it is better for old people to live on…to look forward to the next day; as if he had to spend centuries and then he lives happily, but when he is afraid and he doesn’t looks forward; he looks back. He petrifies. He gets stiff and he dies before his time, but when hes living on, looking forward to the great adventture that is ahead, then he lives. And that is about what your concious is intending to do. Of course it is quite obvious that we’re all going to die and this is the sad finale of everything, but never-the-less, there is something in us that doesn’t believe it, apparently, but this is merely a fact, a psychological fact. Doesn’t mean to me that it proves something. It is simply so. For instance, I may not know why we need salt, but we prefer to eat salt too because we feel better. And so when you think in a certain way, you may feel considerably better. And I think if you think along the lines of nature, then you think properly.
As I can remember me; at the beginning of WWW at the end of 80’s in Germany, there was an exciting on the way. For me, unfortunately, there was not much opportune to be busy with this newcomer because, I had to work to get money for all these costs but Al, my brother was fully employed with this phenomenon and I had to say it; it was my goal.
It was the time of running slowly and take your time! The time of running modem in the taking of 53 KB. and try to get the music Napster… I will never forget how Al complained; It is damn slow!!
Anyhow, in those days, He had shown me once a shit of paper about the; Philosophical view of the religious way of thinking. this paper I have lost or couldn’t find, but I could gather together something similar to share here, might the force be with you, enjoy:
Hi, dear adorable friends. Some days ago as I had got a little time to have a look at my inbox (they were growing bigger and bigger), I found an old post which I can’t remember how I came to or from where I have got this but that cause me thinking of how important is the communication between so many people with so many different languages on the Earth.
Of course, my intention goes more on personally talk to talk and not through the world-wide-web. In the world there are 6500 different languages were spoken and in my opinion, it is one of the reasons why there is hard to get nearer to each other.
I had a strong wish (as I still have) to know many languages as possible to be able to communicate with all the people around the world, it may be because my world was not enough for me those days in Iran and I wanted more. I was surely not alone as I remember to recall the idea of the Esperanto, the idea of the common world-language. And as we, Al and me, were eagerly watching the Star Trek, Next Generation, this subject was truly and reasonably coming as harassment when one must be understood in the universe! There were enough reasons to get this problem but they worked deeper in this, the maybe loveliest and most logical way to communicate with others; Telepathy.
Although, as they, in this great TV serial, tried many versions in the matter of telepathy, there was a kick, a secret which one didn’t want to give it free; It could make troubles!
Anyway, here is the text which I have found “unknowingly” from where, and it might sound like in the way of The Whitechapel Whelk though, I think that he doesn’t mind!
I actually like this explanation here because, as I have been confronted with many foreign languages through my life I found English is the easiest, most flexible and beautiful one for using as communication, there is no doubt that there are so many languages in the world which have their beautifully sounded voices. Now let read what it wants to tell us. 😉😊💖🙏💖
“`This is Absolutely Brilliant*
The European Commission has just announced an agreement whereby English will be the official language of the European Union rather than German, which was the other possibility. As part of the negotiations, the British Government conceded that English spelling had some room for improvement and has accepted a 5- year phase-in plan that would become known as “Euro-English”. In the first year, “s” will replace the soft “c”. Sertainly, this will make the sivil servants jump with joy. The hard “c” will be dropped in favour of “k”. This should klear up konfusion, and keyboards kan have one less letter. There will be growing publik enthusiasm in the sekond year when the troublesome “ph” will be replaced with “f”. This will make words like fotograf 20% shorter. In the 3rd year, publik akseptanse of the new spelling kan be expekted to reach the stage where more komplikated changes are possible. Governments will enkourage the removal of double letters which have always ben a deterent to akurate speling. Also, al wil agre that the horibl mes of the silent “e” in the languag is disgrasful and it should go away. By the 4th yer people wil be reseptiv to steps such as replasing “th” with “z” and “w” with “v”. During ze fifz yer, ze unesesary “o” kan be dropd from vords kontaining “ou” and after ziz fifz yer, ve vil hav a reil sensi bl riten styl. Zer vil be no mor trubl or difikultis and evrivun vil find it ezi TU understand ech oza. Ze drem of a united urop vil finali kum tru. Und efter ze fifz yer, ve vil al be speking German like zey vunted in ze forst plas. If zis mad you smil, pleas pas on to oza pepl. And Congratulations you have learnt German within minutes…“`
The story of “Strawberry Fields Forever” is more or less the story in miniature of the Beatles’ reinvention after they swore off touring in 1966 and disappeared into the studio to make their most innovative albums. It was not, as some Beatles fans might remember, an easy transition right away. Some of their fans, it turned out, were fickle, easily swayed by gossip as the latest TV trends. “While unsubstantiated break-up rumors swirled, some music fans became disenchanted with the group,” writes Ultimate Classic Rock. “You need only watch a 1967 clip from American Bandstand to see how many teenagers in the audience thought the Beatles were has-beens.”
Eager to get something out and fight the whims of fashion, Parlophone and Capitol both released John Lennon’s latest, “Strawberry Fields Forever,” with Paul McCartney’s “Penny Lane” as the B-side, in 1967. Since the band no longer toured, they were “directed to make film clips to accompany each song and promote the single.”
Here, they debuted their new psychedelic look, and in the singles they demonstrated the new direction their music would go. Thematically, both songs are nostalgic trips through childhood, with Lennon taking a mystical, psych-rock approach and McCartney diving headlong into his sentimental music hall ambitions.
“Strawberry Fields Forever” also firmly established the band as studio wizards, thanks to the wizardry, primarily, of George Martin. In the video at the top from You Can’t Unhear This, we learn just what a marvel—as a technical achievement—the band’s new single was at the time, containing “the craziest edit in Beatles history.” The song itself went through a very lengthy gestation period, as Colin Fleming details in Rolling Stone, from sketchy, ghostly early acoustic demoes called “It’s Not Too Bad” (below) to the wild cacophony of crashing rhythms and looping melodies it would become.
Recording take after take, the band spent 55 hours in the studio working on “Strawberry Fields Forever.” Nothing seemed to satisfy Lennon, though he was leaning toward a darker, heavier take, Fleming notes:
This was a version approaching proto-metal. Lennon couldn’t decide if he wanted to go the ethereal route, or the stomping one, and famously told George Martin to combine the two versions. This was less than practical.
“Well, there are two things against it,” Martin informed Lennon. “One is that they’re in different keys. The other is that they’re in different tempos.”
But for a man who had started his most personal, honest musical journey, within the parameters of a single song, back in Spain, this was merely part of the process.
“You can fix it, George,” Lennon concluded, and that was that, with Martin now tasked with finding a solution to a problem that seemingly violated the laws of musical physics.
Martin’s solution involved slowing one version down and speeding up the other until they were close enough in pitch that “only a musicologist, really, would know that there was that much of a difference,” Fleming writes. Speeding up and slowing down tracks was common practice in the studio, and is today, but given the incredible number of instruments and amount of overdubbing that went into making “Strawberry Fields,” the endeavor defied the logic of what was technologically possible at the time.
While the time spent on the song might seem extravagant, we should consider that these days bands can pluck the sounds they want, whatever they are, from pull-down menus, and splice anything together in a matter of minutes. In the mid-60s, Brian Jones, Brian Wilson, Jimi Hendrix, the Beatles and other studio pioneers dreamed up sounds no one had heard before, and brought together instrumentation that had never shared space in a mix. Producers and engineers like Martin had to invent the techniques to make those new sounds come together on tape. Learning the ins-and-outs of how Martin did it can give even the most die-hard Beatles fans renewed appreciation for songs as widely beloved as “Strawberry Fields Forever.”
I have never thought that as a retired man being so busy as I haven’t been before. That is and means being a grandpa!
Oh yes; excitement is the order of these days, the first; queen Mila is on our board; with grandma & pa because the second one; the king (or the Lord on the side of the queen, the name has not been chosen yet) is on the way to step (or shout out) on this earth.
so then it’s announced many sleepless nights and heart-beats, till all gonna be well. we can just hope.
PS: Since last Saturday, I am writing (trying 😛) to finish these some words but I have a feeling that I’m getting old(er)! today I (thought) I have an appointment with my gum surgery to finish my implant but it came out that I have messed up the day and the appointment was yesterday 😮😩
I was shocked when I found it out and now try not to become depressed.
Anyway, I try to give my best. Have a good rest of the week and stay safe dear friends🙏💖✌
The “Nefer” (Good, Beauty, Pleasant, Well) is a prefix which had been used several times for the Egyptian queens, therefore, we must not mix them together. There are many beautiful Queens in ancient Egypt; “Queen Nefertari—not to be confused with Nefertiti, the powerful queen who ruled alongside her husband, King Akhenaten, in the mid-14th century B.C.—was the first and favoured wife of Ramses II, the warrior pharaoh who reigned from 1290 to 1224 B.C., during the early 19th dynasty.” https://www.history.com/news/archaeologists-identify-mummified-legs-as-queen-nefertaris
Here is another great article by Marie Grillot about finding a fetching artefact, among the others, the Pillar-djed amulet. 🙏💖🙏
Pillar-djed amulet Wood covered with cloisonne gold leaf, with glass paste inlay – New Empire – 19th dynasty From the Tomb of Nefertari – QV / VdR 66 – discovered in 1904 by the Archaeological Mission of the Museum of Turin directed by Ernesto Schiaparelli and Francesco Ballerini Egyptian Museum of Turin – S. 5163
It is to the Archaeological Mission of the Museum of Turin, directed by Ernesto Schiaparelli and Francesco Ballerini, that we owe, in 1904, the discovery of the tomb of Nefertari, great wife of the pharaoh Ramses II; dazzlingly beautiful, it was adorned with eloquent titles. But the door which was to protect the abode of eternity – referenced QV / VdR 66 – from that which at Court was called “The most beautiful of all” had been opened, a sign of pillage from antiquity.
The tomb of Nefertari (QV / VdR 66) during its discovery by Ernesto Schiaparelli and Francesco Ballerini of the Archaeological Mission of the Museum of Turin, in 1904
“Cuttings had slipped, entered the first room and this filling almost reached the ceiling,” notes Schiaparelli. The ground of the tomb is entirely covered with solidified mud… Of the fabulous and royal treasure which it must have sheltered, there remain only “rare objects, in the middle of torn shrouds, everything showed to what extent the rape and the rampage had been systematic “. The looters left only “scarabs, fragments of the cover of the granite sarcophagus, and fragments of a coffin cover in gilded wood. Thirty “chaouabtis “(or ” shaouabtis “, ” chabtis “, “shabtis)., many shards of pottery … One of the niches kept for the magic bricks in the funerary chamber contained the partitioned wooden pillar-djed with an inlay of glass paste which had, one day, decorated the brick. It is inscribed in the name of Queen Nefertari… Finally to finish, humble but moving object abandoned by the looters, a pair of rope sandals… “
Pillar-djed amulet Wood covered with cloisonne gold leaf, with glass paste inlay – New Empire – 19th dynasty From the Tomb of Nefertari – QV / VdR 66 – discovered in 1904 by the Archaeological Mission of the Museum of Turin directed by Ernesto Schiaparelli and Francesco Ballerini Egyptian Museum of Turin – S. 5163
In “Nefertari, For Whom The Sun Rises”, Valeria Ornano describes the queen’s djed amulet as follows: “The front of the wooden object is 13 centimetres long and is covered with gold leaf with inlays in the blue glassy paste, while the back is painted yellow with red decorations and bears a touching engraving: “Osiris, the great royal wife, his beloved, just like Re”. It is quite possible that the other three niches contained similar objects, possibly related to Isis as she is depicted on the walls of the same tomb. These amulets were used to provide magical protection for Nefertari during his regeneration. “
Djed painted on one of the pillars of the sarcophagus room of the tomb of Nefertari (QV / VdR 66) discovered by Ernesto Schiaparelli and Francesco Ballerini (Archaeological Mission of the Museum of Turin) in 1904
The pillar-djed, symbol of stability is the Osirian amulet par excellence. In “Ancient Egypt and its gods”, Jean-Pierre Corteggiani devotes a long development to him, here is a short extract: “this pillar with the foot as flared as the head, surmounted above multiple ligatures, by four elements dishes which seem to fit one inside the other, was assimilated to the backbone of Osiris: this is what the ‘Formula of the pillar-djed in gold’ indicates… of chapter 155 of the Book of the Dead where it is specified that any deceased buried with this amulet suspended from the neck by sycamore fibre is guaranteed to be ‘an eminent blessed in the empire of the dead’ and this is what makes it a symbol conferring stability and duration, notions expressed in Egyptian by the corresponding hieroglyphic sign. “
Pillar-djed amulet Wood covered with cloisonne gold leaf, with glass paste inlay – New Empire – 19th dynasty From the Tomb of Nefertari – QV / VdR 66 – discovered in 1904 by the Archaeological Mission of the Museum of Turin directed by Ernesto Schiaparelli and Francesco Ballerini Egyptian Museum of Turin – S. 5163
The Guide to the Museo Egizio in Turin, where the Nefertari pillar-djed is exhibited under the reference S. 5163, specifies that this is: “the only survivor of the four amulets linked to what we call the ‘magic bricks’, ritually arranged at the four corners of the golden room to protect the deceased “.
In BIFAO 112, Elka Koleva-Ivanov studies this funeral ritual of “magic bricks” or “sacred bricks” linked to Osiris: “According to chapter 137A of the Book of the Dead, on the western brick must be placed a pillar-djed which is an Osirian object and on the eastern brick, the figurine of Anubis which is closely associated with the protection of the dead god. Similarly, according to this text, the magic brick must be made in sjn wȝḏ, which designates the raw clay, but also green clay, the Osirian colour par excellence “; the other two bricks being: “to the south – the one with the torch and to the north – the brick carrying the mummy figurine”.
Remains of the funeral furniture of Queen Nefertari from her grave (QV / VdR 66) discovery by Ernesto Schiaparelli and Francesco Ballerini of the Archaeological Mission of the Museum of Turin, in 1904 exhibited at the Turin Museum
It is clear that the bricks did not succeed in preserving the queen … In his “Nefertari the Lover of Mut”, Christian Leblanc returns to the desecration of the tomb: “The burial unsealed by looters was not burnt down, but the queen’s funeral furniture was largely taken away. The open pink granite sarcophagus allowed thieves to get their hands on the most precious objects: gold and gilded coffins, jewellery and amulets, which were easily transformable or exchangeable on the market where large traffic arises. The chests, baskets, chairs and beds which had to appear among the pieces of equipment put at the disposal of the sovereign in her eternal home, were undoubtedly dismantled then recovered, along with the contents of the jars and containers. “
Nefertari represented in his tomb – Valley of the Queens – QV / VdR 66 discovery by Ernesto Schiaparelli and Francesco Ballerini of the Archaeological Mission of the Museum of Turin in 1904
As for Nefertari whose representations, whether painted or of stone, delight our eyes, it is infinitely sad to report that, of his mummy, only the two knees have been found. After the plundering at the end of the New Kingdom, was it restored and sheltered in a royal hiding place, similar to the DB 320? If that were the case, hope would then be allowed to see the beautiful sovereign one day …
Nefertari, ‘the beloved de Mut’ Christian Leblanc, Editions du Rocher 1999The queens of the Nile. Library Rarities, Christian Leblanc, Paris, 2009Nefertari, For Whom The Sun Rises, Valeria OrnanoOsiris and sacred bricks BIFAO 112 (2012), p. 215-224 Elka Koleva-Ivanovhttps://www.ifao.egnet.net/bifao/112/15/
12 Egyptian queens who changed history, Pierre TalletThe secret discoveries, Christiane Desroches-Noblecourt Editions Telemachus, 2006The great nubiade or the journey of a Egyptologist Christiane Desroches-Noblecourt, Stock 1992
Nefertari, also known as Nefertari Meritmut, was an Egyptian queen and the first of the Great Royal Wives of Ramesses the Great. Nefertari means ‘beautiful companion’ and Meritmut means ‘Beloved of [the goddess] Mut’. She is one of the best known Egyptian queens, next to Cleopatra, Nefertiti, and Hatshepsut. Wikipediahttps://g.co/kgs/SaKbEz
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