The Crown of Arsinoe II: The Creation of an Image of Authority

265 Pages·2012·87.393 MB·English

by  Maria Nilsson

The Crown of Arsinoë II
The Creation of an Imagery of Authority
Maria Nilsson
Published by
Oxbow Books, Oxford, UK
© Oxbow Books and the authors, 2012
ISBN 978-1-84217-492-0
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Library of Congress Cataloging-in-Publication Data
Nilsson, Maria, 1979-
The crown of Arsino? II : the creation of an imagery of authority / Maria Nilsson.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-84217-492-0
1. Arsinoe II, Queen, consort of Ptolemy II, King of Egypt, ca. 316-270 B.C. 2. Crowns--Egypt. 3. Crowns in art. 4.
Clothing and dress--Symbolic aspects--Egypt. 5. Egypt--History--332-30 B.C. 6. Egypt--Kings and rulers--Biography.
7. Queens--Egypt--Biography. 8. Bas-relief--Egypt. 9. Statues--Egypt. I. Title.
DT92.N55 2012
932’.021092--dc23
[B]
2012022307
Front cover image: Philae, inner sanctuary (chamber X), eastern partition, lower register. Photo: Maria Nilsson
Back cover image: Philae, inner part (outer wall of the sanctuary)(chamber VII), northern partition, eastern side of the door,
lower main register. Photo: Maria Nilsson.
Printed in Great Britain by
Short Run Press
Exeter
Contents
List of illustrations ............................................................................................................................................v
List of tables ...................................................................................................................................................vi
Abbreviations ..................................................................................................................................................vi
Preface and acknowledgements .....................................................................................................................vii
1 Introduction and historical background ......................................................................................................1
2 Methods and theory ....................................................................................................................................8
3 The elements of the crown ......................................................................................................................16
4 The complete crown.................................................................................................................................36
5 The crown of Arsinoë in context ..............................................................................................................48
6 Religious rituals ........................................................................................................................................64
7 Size, position and time .............................................................................................................................77
8 Hieroglyphic titles of Arsinoë ................................................................................................................108
9 The eradication of visual representations ...............................................................................................129
10 Arsinoë and royalty – a female pharaoh? ...............................................................................................136
11 Arsinoë and piety – priestess and goddess .............................................................................................142
12 The crown of Arsinoë as a symbol of authority 148
13 Conclusion ..............................................................................................................................................151
Catalogue of material ....................................................................................................................................154
Appendices
I Summary of the contextual structure of the material .......................................................................208
II Translated designations .....................................................................................................................217
III Arsinoë’s cartouches..........................................................................................................................219
IV The Ptolemaic Dynasty .....................................................................................................................222
V Egyptian dynasties .............................................................................................................................223
VI Word list ............................................................................................................................................226
Bibliography..................................................................................................................................................235
Index .............................................................................................................................................................245

Illustrations
1. Greek-style portrait of Queen Arsinoë II, Bonn, Akademisches 43. Nekhbet and Wadjet, Late Period, Chapel of Amenirdis at
Kunstmuseum der Universität, B 284 Medinat Habu
2. Amun-Ra with two types of ram horns 44. ‘Vatican Arsinoë’: Museo Gregoriano Egizio, inv. no. 22681
3. Examples of ram horns: Thoth, Isis and Khnum, Temple of 45. ‘Vatican Arsinoë’: Museo Gregoriano Egizio, inv. no. 22681
Dendera 46. Example of ankhs: Hatshepsut and Amun, el-Kab
4. Example of red crown: Wadjet, Edfu Temple 47. Examples of ankhs: Ramses II, Temple of Wadi al-Sebua
5. Example of red crown: Persian pharaoh, Hibis Temple 48. Examples of ankhs: detail from the Mammisi in the Edfu
6. Crown of Arsinoë without a crown spiral: detail of cat. no. Temple
16 49. Example of sceptre: detail of cat. no. 13
7. Example of the double feather plume: detail of Amun, 50. Example of sistra: detail from the Temple of Dendera
Karnak 51. Detail of a decorated sheat dress, Temple of Dendera
8. Example of the double feather plume: Queen Shepenwepet 52. Detail of sandals: cat. no. 8
offering to three fi gures, Medinat Habu 53. Corner box, Dendera Temple
9. Example of the double feather plume: Queen Amenirdis and 54. Corner box, Dendera Temple
Queen Shepenwepet, Medinat Habu 55. Corner box, Dendera Temple
10. Example of the double feather plume: Queen Amenirdis and 56. Corner box, Dendera Temple
Queen Shepenwepet, Medinat Habu 57. Corner box, Dendera Temple
11. Example of the double feather plume: Hieroglyphic sign, 58. Corner box, Dendera Temple
Medinat Habu 59. Dynastic scene related to cat. no. 21: Edfu Temple
12. Detail of feathers: cat. no. 16 60. Dynastic scene related to cat. no. 21: Edfu Temple
13. Detail of feathers: ostrich feathers of the anedjti crown, Temple 61. Censing: Hieroglyphic sign R36
of Edfu 62. Censing: Hieroglyphic sign R7
14. Falcon feather 63. Censing: Hieroglyphic sign Q 39
15. Ostrich feather 64. Censing: Hieroglyphic sign Q 6C
16. Detail of feathers: cat. no. 8 65. Unfi nished fi gure of Ma’at in cat. no. 26L
17. Detail of feathers: cat. no. 3 66. Water and wine vessels: Hieroglyphica W-list
18. Detail of feathers: cat. no. 34 67. Water and wine vessels: Hieroglyphica W-list
19. Goose feather 68. Water and wine vessels: Hieroglyphica W-list
20. Coin depicting the Ptolemaic eagle 69. Water and wine vessels: Hieroglyphica W-list
21. Example of solar disc: Sekhmet, Kom Ombo 70. Water and wine vessels: Hieroglyphica W-list
22. Example of cow horns and solar disc: Hathor, Deir al 71. Libation vessels: Hieroglyphica W-list
Medina 72. Libation vessels: Hieroglyphica W-list
23. Ramses II with the Ramesside crown, Karnak 73. Libation vessels: Hieroglyphica W-list
24. Detail of the Ramesside crown, Edfu Temple 74. Libation vessels: Hieroglyphica W-list
25. Detail of the Ramesside crown, Temples of Kalabsha 75. Libation vessels: Hieroglyphica W-list
26. Scene of the Alexandria sarcophagus 76. Variant of fl ower: Hieroglyphica M-list
27. Detail of the Alexandria sarcophagus 77. Variant of fl ower: Hieroglyphica M-list
28. Scene of the Alexandria sarcophagus 78. Grids from the Tomb of Ramose, Valley of the Nobles
29. Crown of Arsinoë 79. Example of grids: Hapi with a Nile crown, Temple of Edfu
30. Ramesside crown: hieroglyphic signs JSesh S51A 80. Detail of cat. no. 26L
31. Atum’s crown: hieroglyphic signs JSesh S52 81. Cat. no. 11 with fi ve horizontal lines
32. The traditional female crown: Hathor, Hibis Temple 82. Cat. no. 13 with horizontal lines
33. The traditional female crown: Nefertari, Abu Simbel 83. Cat. no. 10 with fi ve horizontal lines
34. Variant of the later Hathoric crown 84. Cat. no. 15R with fi ve horizontal lines
35. Variant of the later Hathoric crown 85. Cat. no. 26R with horizontal lines
36. Variant of the later Hathoric crown 86. Scene from Edfu Temple with horizontal lines
37. Variant of the later Hathoric crown 87. Scene from Dendera Temple with seven horizontal lines
38. Detail of a male tripartite wig, Temple of Dendera 88. Scene from Dendera with seven horizontal lines
39. Detail of a female tripartite wig, Temple of Dendera 89. Scene from Dendera with nine horizontal lines
40. Example of the vulture cap: Ptolemaic ‘Sculptor’s model’ 90. Crown details of cat. no. 3
41. Tripartite wig and vulture cap: edited female image from the 91. Crown details of cat. no. 4
Hibis Temple 92. Crown details of cat. no. 13
42. Example of the Two Ladies: Queen Amenirdis I, Osirian 93. Detail of cat. no. 1R – the newborn ram, Banebdjedet, and
Chapel, Karnak Harpocrates – with horizontal lines
vi Illustrations, Tables and Abbreviations
94. Detail of cat. no. 3 – Ptolemy V, Cleopatra I and the captive 115. Horus name: signs after JSesh
enemy – with horizontal lines 116. Insignia in cat. no. 1: copy from Sethe 1904 (=Urk. II),
95. Six royal cartouches in cat. no. 3 II.30
96. Detail of cat. no. 4 with a grid system 117. Detail of the insignia in cat. no. 1
97. Detail of cat. no. 15L 118. Nebty, the Two Ladies. Hieroglyph after JSesh G16
98. Detail from Dendera Temple 119. The Golden Horus name. Hieroglyph after JSesh
99. Detail of cat. no. 14 with horizontal lines 120. Detail of cut marks: scene from Edfu Temple
100. Detail of cat. no. 1L: front male fi gure 121. Detail of cut marks in cat. no. 16
101. Detail of cat. no. 1L: back male fi gure 122. Cut marks in cat. no. 26L
102. Detail of cat. no. 1: symbolism of Upper and Lower Egypt 123. Detail of the undressed section of the northern gate at
103. Cat. no. 36, drawing by J. Ward Karnak
104. Full-size block of Arsinoë’s designation, Temple of 124. Detail of Amun’s damaged title in cat. no. 26R
Medamoud 125. Detail of cut marks in cat. no. 19
105. Detail of Arsinoë’s designation, Temple of Medamoud 126. Detail of cut marks in cat. no. 19
106. Full scene of cat. no. 2 127. Details of cut marks in cat. no. 31
107. Detail of cat. no. 2: individual scene to the far left 128. Details of cat. no. 32
108. Cat. no. 2R 129. Scene with Ptolemy II sacrifi cing to the royal divine triad,
109. Cat. no. 2L Osiris, Isis and Harpocrates, Temple of Philae
110. Detail of cat. no. 26L 130. Detail of Ptolemy II sacrifi cing to the royal divine triad,
111. Detail of cat. no. 8: hieroglyphic text Osiris, Isis and Harpocrates, Temple of Philae
112. Stone block with Arsinoë’s name, found in relation to the
Opet Temple, Karnak
113. Detail of cat. no. 15R NB: All photographs are by the author unless otherwise stated
114. Detail of cat. no. 26R
Tables
1. The scenes 11. Variations of the single forehead uraeus
2. Variants of the ram horns 12. Hand-held objects
3. Variations of the red crown 13. Decoration
4. Variations of the double feather plume 14. The setting of the scenes
5. Variations of the cow horns and solar disc 15. The most frequent offering objects
6. Variations of the uraeus 16. Height of Arsinoë according to the crown line
7. Individual composition types of the crown of Arsinoë 17. Arsinoë’s positions
8. Crown of Arsinoë according to the position of the ram horns 18. Dating of the scenes
9. Variations of the tripartite wig 19. The most frequently applied designations of Arsinoë
10. Variations of the vulture cap 20. Placement of cut marks on Arsinoë
Abbreviations
Abbreviations related to the citations are listed in the Bibliography
AC – crown of Arsinoë type SFU – single forehead uraeus
CS – cow horns and solar disc TFC – traditional female crown
DFP – double feather plume TW – tripartite wig
RC – red crown UR – uraeus
RH – ram horns
Preface and acknowledgements
The historical fi gure of Arsinoë II Philadelphos has received I. Wiman was my main advisor during my work on my
various degrees of scholarly attention over the years. doctoral dissertation, and I have her to thank not only for
Debates have concerned her political position and actual her support and encouragement but, primarily, for widening
infl uence in the society during her lifetime, as well as her my perspectives on the study of ancient art. Without her
deifi cation in connection with her death. Archaeological guidance, this study would have lost its theoretical anchor.
material referring to Arsinoë incorporates records of both I have Dr I. Östenberg to thank for her honesty, clear
Greek and Egyptian origin, textual as well as pictorial, but, directives, sense of structure and valuable communication.
while her name and actions survive into modern times, Prof. R. Hägg has been a great inspiration throughout
her tomb, along with those of Alexander the Great and my education and will remain a role model of scholarly
the Ptolemies, so far remains undiscovered. This book dedication and professionalism throughout my career. I also
deals with archaeological records in the form of Egyptian owe my deepest thankfulness to Assoc. Prof. C. Gillis, who
reliefs – as free-standing stelai or as part of preserved guided me clearly and with constructive criticism onto the
Ptolemaic temples – and focuses on pictorial depiction scholarly path that follows doctoral research while during
while including also hieroglyphic texts. While some artistic the latter part of my doctoral education becoming a close
media incorporate descriptive titles enabling an absolute friend and trusted advisor.
identifi cation of the fi gure depicted, others are left to I owe Assoc. Prof. I. Wiman and Prof. R. Hägg thanks
interpretation based on style, general appearance and, most for introducing me to my ‘Alexandrian family’, headed by
importantly, personal attributes. Such a personal attribute Prof. M. el-Abbadi, who welcomed me with friendly and
was provided for Queen Arsinoë, and consisted of a pictorial open arms into Egypt’s amazing cultural environment. He
composition of fi ve main details. Together the ram horns, introduced me to Prof. M. Haggag, who became not only
double feather plume, red crown, cow horns and solar disc a great mentor, advisor and inspiration but also a trusted
composed an item that thereafter would identify its wearer: and lifelong friend. I will always cherish our lengthy,
a crown here referred to as the crown of Arsinoë. constructive dialogues. Their scholarly and professional
Ptolemaic art and socio-religious history offer the support has enabled me to study the ancient material in situ
modern interpreter possibilities and difficulties alike with ease and to feel comfortable in the foreign country,
owing to the dynasty’s Macedonian origin. This dynasty Egypt, which eventually became my home. These friends
was strongly anchored in Greek traditions, while ruling and associates will forever remain close to my heart and I
and reaching out to the people of one of the most ancient hope that I will have the opportunity to prove my deepest
of societies, Egypt, with its own set of customs and respect and appreciation for their invaluable support and
regulations. The present investigation thus deals with not trust.
only the modern (hermeneutic) interpretation of ancient During the course of my research I received funding
material but also Greek illumination of ancient Egyptian from a number of foundations, without which help my
norms, and focuses on a comprehensive analysis of the doctoral dissertation and subsequently this work would not
crown of Arsinoë not as a means of identifying the person have been completed. Thus, I express my deepest gratitude
wearing it but to understand the wearer’s religious and to the following foundations: ‘Kungl. & Hvitfeldska
political role within her contemporary society. Stiftelsen’; foundations connected to the Humanities
Throughout the years that I worked with this material, I Faculty of the University of Gothenburg, Sweden; Wilhelm
have been privileged with the support and encouragement & Martina Lundgrens Stiftelse; Helge Ax:son Johnsons
of numerous people. Here I wish to express my gratitude Stiftelse; Kungl. Vitterhetsakademin; Halmstad kommun;
to those who have assisted in making the completion of my Herbert och Karin Jacobssons Stiftelse; Gertrude och
research possible, as well as those who have encouraged Ivar Philipsons Stiftelse; and Knut och Alice Wallenbergs
me to produce this book from my original thesis (Nilsson Stiftelse.
2010). I would like to begin by expressing my deepest I am grateful also for the support I have received from
appreciation towards Ch. Wikander, who as a mentor in various organisations throughout the years. Among my
my early career introduced me to and evoked my interest Swedish associates, I have the Friends of Alexandria to
in the subject of the Ptolemaic Period, and who inspired thank. I would also like to express my gratitude to the
me to complete my two previous scholarly dissertations. Archaeological Society of Alexandria and all associates
Her recent death is a great loss not only to her family who, as part of my Alexandrian family, have enriched my
and friends but also to the academic world. Assoc. Prof. work through discussions, lectures and other activities;
viii Preface and acknowledgements
to the numerous interdisciplinary intellectuals who are psychological rollercoaster that comes with the process) is
involved in the Sirius Project; and to the many museum essential. Among others, I would like to thank Dr B. van
personnel who have assisted me with photographs and Oppen, F. Hellander, U. Bornestaf, M. Saad and S. Montazer
information. Special thanks go to the Egyptian Museum, for sharing their thoughts and guidance.
Cairo; Musées Royaux d’Art et d’Historie, Brussels I am forever grateful for the support, inspiration, vivid
Archäologisches Institut der Universität Trier; Pelizaeus discussions and constructive criticism that I have received
Museum, Hildesheim; Royal Ontario Museum, Toronto, from my greatly beloved friend and scholarly associate L.
Harvard Art Museum; Medelhavsmuseet, Stockholm. I owe Lundberg, MA. Her belief in me has enabled me to continue
the staff at Oxbow Books my deepest appreciation, with this research and to develop as a person on so many levels.
special thanks to Clare Litt, Lizzie Holiday, Sam McLeod My mother believed in me from the very beginning and
and Sarah Harrison encouraged me to fulfi l my childhood dream of becoming
Among the postgraduate students at the Department of an archaeologist; I thank her and my father and siblings
Historical Studies in Gothenburg who have commented for their never-failing support, patience and understanding.
on my work, given me advice and supported me in Finally, I would like to express my deepest thanks for all
various ways, I am grateful to A. Lindqvist, K. Ciambella discussions, comments, questions and advice that have
Berggren, K. Johansson and S. Karlsson, who, in spite of enabled me to develop in my scholarly thought processes;
our geographical distance, have inspired this work. As a very and my eternal respect and admiration for my life companion
important step in any academic work, communication with and research partner in the Sirius Project, Dr J. Ward, to
scholars who are familiar with the material (as well as the whom I dedicate this work.
Chapter 1
Introduction and historical background
The historical fi gure of Queen Arsinoë II1 has long been a Ptolemaic crown and its later variations will throw light on
topic of discussion. Her involvement in political affairs has both the creation and the development of an iconographic
interested a broad range of scholars over the years, engaging programme introduced by the royal court as a part of a
dedicated Egyptologists and classicists alike. However, in conscious politico-religious agenda.
the eyes of modern scholars her political role has always The reliefs, following an ancient Egyptian tradition,
surpassed her religious position in her contemporary society, show a great assortment of iconographic manifestations,
while as a subject of study she has remained in the shadow each unique in their own way. Seemingly, the Macedonian
of her more famous descendant Queen Cleopatra VII. These rulers further developed this ancient artistic programme
two queens are, however, connected through more than in order to reach out to both the indigenous people of
their royal status. They were both deifi ed in their own right, Egypt and the increasing Greek immigrant population by
receiving religious attention from Greeks and Egyptians introducing a programme of assimilation. Two ancient
alike. They were also closely involved in the established civilisations, each one with its own strong conventional
cult of the royal family, venerated as the daughters, sisters symbolic values, merged in this unstable political period,
and mothers of their Macedonian dynasty. the Hellenistic era: thus ancient Egyptian mythological
This Ptolemaic queen and ruler cult was expressed in creatures, vividly illustrated in anthropomorphic forms or
various ancient media, one of which consisted of reliefs. In a with features of the natural fauna, met a contemporary set
period when (hieroglyphic) writing was limited mainly to the of beliefs expressed in traditional Greek religion. These two
highest social strata, including the priesthood and the royal cultures combined to produce a powerful dynasty resting on
court, the relief scenes, with their images, could address all established traditional dynastic conventions of politics in a
levels of society, providing a strong and comprehensible country where royal events were carefully documented and
message for literate and illiterate viewers alike. Each distributed to the people.
iconographic unit had an important place in a well-chosen The most obvious means of reaching the population was
composition, incorporating all parts of the fi gures as well iconography, which offered the opportunity to manipulate
as the full scene into a complete and structured setting. size, position and time. In order to inform the population of
The pictorial elements represented in each fi gure of the the new dynasty the pre-existing iconographic programme
scene allowed individualism, thus separating one fi gure was developed to include every aspect of the Ptolemaic
from another, in an iconic context where one of the most queens’ cultural context, Greek and Egyptian. The Ptolemaic
important attributes was the crown. kingdom, conscious of its dual cultural heritage, enabled
Such an attribute – a unique crown – was created and the development of a means of artistic expression in which
developed for Queen Arsinoë. It was a crown composed each pictorial element, resting on a highly individual
of strategically chosen iconographic units intended to symbolism, merged in a full composition. The crown, as
set this queen apart from other royal women as well as a personal attribute and a symbol of hierarchic position,
from female deities. This crown was reused by two later was one of the most important details in a scene, and it
Ptolemaic queens, Cleopatra III and VII, both of whom held was thus unsurprising that a special crown was created for
an offi cial status equal to that of the king. The crowns and Queen Arsinoë in order to convey her rank and position in
their position within the scene, as well as their relationship society. This attribute contained a statement so powerful that
with surrounding pictorial units, provide the modern world it remained an infl uential, recognisable symbol of queenship
with a key to the understanding of a period in which respect and divinity throughout the entire dynasty. Religion, power,
for ancient traditions was vital, and to which traditions a politics and pictorial symbolism thus meet in one personal
new foreign dynasty had to adjust. A study of this unique attribute, the crown of Arsinoë.