NYC – Metropolitan Museum of Art – Chapel for Ramesses I at Abydos – North Wall
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NYC – Metropolitan Museum of Art – Chapel for Ramesses I at Abydos – North Wall
Image by wallyg
Chapel for Ramesses I at Abydos – North Wall
Dynasty 19, reign of Sety I
(ca. 1291-1279 B.C.)
Limestone
The site of Abydos lies on the west bank of the Nile in Upper Egypt, some 275 miles south of modern Cairo and 60 miles northwest of Luxor (ancient Thebes). Throughout ancient history, Abydos was sacred to Siris, the god of resurrection, who was also called Onnophris (from the Egyptian wnn-nfr, "continually rejuvenated"). In Egyptian belief, Osiris was the force that brought life out of apparent death, manifest in such natural phenomena as the daily sunset and sunrise and the yearly growth cycleof plants. He was also the god who ruled the netherwold, while his son, Horus, governed the living on earth. During his reign, each pharaoh was identified with Horus and after death, was thought to become Osiris.
From the beginning of dynastic history, Egypt’s rulers sought to erect memorial buildings and temples for themselves in the "Sacred Land" of Abydos, where they might be remembered in their union with Osiris and participate in the annual reenactment of the god’s death and resurrection. Although the earliest of these memorials dates to the time of Egypt’s unification (ca. 3200 B.C.), the largest is that of Sety I (Dynasty 19, ca. 1291-1279 B.C.). Sety’s temple contains chapels for the worship of the Abydene triad–Osiris; his wife, Isis; and their son, Horus–as well as one for Sety’s own posthumous veneration as Osiris. The relief in Sety’s temple is generally considered the finest of the Ramesside period and among the best ever produced by ancient Egyptian artists.
Some fifty feet north of his temple enclosure, Sety built a much smaller but equally well decorated memorial chapel for his father Ramesses I (Dynasty 19, ca. 1293-1291 B.C.). Ramesses was probably general, and later viziet under Horemhab (last king of Dynasty 18, ca. 1321-129 B.C.) and came to the throne after Horemhab died childless. Apparently well advanced in years, Ramesses ruled for little more than two years himself. The task of building his memorial therefore became the pious duty of his son and successor, Sety.
The chapel was discovered in 1910, during construction work northeast of Sety’s own memorial. Because it was on private land, Egyptian law at the time recognized the discovery as private property and the finders were allowed to sell the reliefs. Most of them were acquired by J. Pierpont Morgan in 1911 and presented to the M useum of Metropolitan of Art. Three additional blocks were given to the Museum in 1912 by Dikran Kelekian, and another three blocks recorded in 1910 are now lost.
The Egyptian Antiquities Service acquired the site of the chapel itself during the World War I. Because most of the reliefs had by that time come to the Metropolitan, the Museum was aked to conduct formal excavations. In 1927, these revealed the plan of the chapel and a number of additional inscribed blocks, most in very poor conditio which were restored and left in situ.
Whereas the wall oppposite depicts a living Ramesses worshopping Osiris, on the North Wall he is shown as the deceased king assimilated into Osiris himself. Ramesses’s image is seated before a table and piles of offerings. Beneath is a platform whos ecentral support is the symbolic unison of Upper and Lower Egypt; on either side, Nile gods bring vases of fresh water symbolizing "life, all happiness, all food, all provisions."
Immediately above the offerings is the end of a tabular list of offerings; its beginning occupied most of the upper register, which is now lost. This is followed by a long series of spells, originally fromt he Pyramid Texts (Old Kingdom, ca. 2400 B.C.) designed to ensure that "the mouth of the Son of Re, Ramesses shall not thirst, nor shall it hunger."
The lower part of this wall contains two small registers depicting the rituals that accompanied the presentation of these offerings. The lower is now lost, except for the figure of a lector bringing a leg of beef. The upper preserves eight scenes.
Gift of J. Pierpont Morgan, 1911
Gift of Dikran Kelekian, 1912 (11.155.3a, 12, 185,2)
**
The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
NYC – Metropolitan Museum of Art – Chapel for Ramesses I at Abydos – South Wall
Image by wallyg
Chapel for Ramesses I at Abydos – South Wall
Dynasty 19, reign of Sety I
(ca. 1291-1279 B.C.)
Limestone
The site of Abydos lies on the west bank of the Nile in Upper Egypt, some 275 miles south of modern Cairo and 60 miles northwest of Luxor (ancient Thebes). Throughout ancient history, Abydos was sacred to Siris, the god of resurrection, who was also called Onnophris (from the Egyptian wnn-nfr, "continually rejuvenated"). In Egyptian belief, Osiris was the force that brought life out of apparent death, manifest in such natural phenomena as the daily sunset and sunrise and the yearly growth cycleof plants. He was also the god who ruled the netherwold, while his son, Horus, governed the living on earth. During his reign, each pharaoh was identified with Horus and after death, was thought to become Osiris.
From the beginning of dynastic history, Egypt’s rulers sought to erect memorial buildings and temples for themselves in the "Sacred Land" of Abydos, where they might be remembered in their union with Osiris and participate in the annual reenactment of the god’s death and resurrection. Although the earliest of these memorials dates to the time of Egypt’s unification (ca. 3200 B.C.), the largest is that of Sety I (Dynasty 19, ca. 1291-1279 B.C.). Sety’s temple contains chapels for the worship of the Abydene triad–Osiris; his wife, Isis; and their son, Horus–as well as one for Sety’s own posthumous veneration as Osiris. The relief in Sety’s temple is generally considered the finest of the Ramesside period and among the best ever produced by ancient Egyptian artists.
Some fifty feet north of his temple enclosure, Sety built a much smaller but equally well decorated memorial chapel for his father Ramesses I (Dynasty 19, ca. 1293-1291 B.C.). Ramesses was probably general, and later viziet under Horemhab (last king of Dynasty 18, ca. 1321-129 B.C.) and came to the throne after Horemhab died childless. Apparently well advanced in years, Ramesses ruled for little more than two years himself. The task of building his memorial therefore became the pious duty of his son and successor, Sety.
The chapel was discovered in 1910, during construction work northeast of Sety’s own memorial. Because it was on private land, Egyptian law at the time recognized the discovery as private property and the finders were allowed to sell the reliefs. Most of them were acquired by J. Pierpont Morgan in 1911 and presented to the M useum of Metropolitan of Art. Three additional blocks were given to the Museum in 1912 by Dikran Kelekian, and another three blocks recorded in 1910 are now lost.
The Egyptian Antiquities Service acquired the site of the chapel itself during the World War I. Because most of the reliefs had by that time come to the Metropolitan, the Museum was aked to conduct formal excavations. In 1927, these revealed the plan of the chapel and a number of additional inscribed blocks, most in very poor conditio which were restored and left in situ.
The south wall depicts Ramesses I and his family presenting offerings to Osiris. The upper register (now lost) showed Ramesses leading four young bulls to "Osiris Onnophris." In the lower register, Ramesses is shown "making incense and libation" over offerings piled before the shrine of "Osiris lord of continuity, great god at home in the Abydene nome"; behind the statue of Osiris stand Isis and Hathor.
Ramesses is accompanied by his queen, Sitre, shaking two-sistra "to your beautiful face." Behind her is a procession of men and women bearing bouquets. In the dedicatory styela of this temple, they are described as "all his brethren according to their rank"; the first figure behind the queen (now lost) was probably "the most beloved brother of the king" mentioned in the stela. The scene in the lower register continued onto the short west face of the doorway (in situ) with two more women bearing boquets. In the register above them is a scene of Ramesses before the statue of Osiris.
Gift of J. Pierpont Morgan, 1911 (11.155.3c.d)
**
The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
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