Fascinating Mummies - National Museums Scotland

Transcription

Fascinating Mummies
Fascinating Mummies
Contents
1
How to use this Box
2
The Life and Death of Ankhhor
Setting the Scene
2.1
2.2
Life as a Priest
2.3Mummification
2.4Afterlife
3
Object Information Cards
3.1Tunic
3.2Sandals
3.3
Reed Palette and Pen Set
3.4Papyrus
3.5
Canopic Jar and Lid
3.6Wrapping
3.7
Mummification Tool
3.8Natron
3.9Charms
Eye of Horus
3.10
3.11Scarabs
3.12
Bracelet and Necklace
Osiris Figures
3.13
3.14
Shabti Figures
3.15Stela
3.16
Clay Vessel
3.17
Pieces of Bread
4
Classroom Activities
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
5
Art Scenes
Jobs Drama
Become a Scribe
Make Your Own Papyrus
Mummified Fish
Mummify your Friend’s Arm
Weighing of the Heart Cartoon
Inscribe a Stela
Create Your Own Exhibition
5.1Introduction
5.2
Task 1: Become a Curator
5.3
Task 2: Write a Story Panel
5.4
Task 3: Become a Design Team
5.5
Task 4: Become a Marketing Officer
6
Feedback Forms
National Museum of Scotland Fascinating Mummies
Copyright information
2.1a © Rijksmuseum van Oudheden, Leiden, Netherlands
2.2a © Aidan Dodson
2.2b © Rijksmuseum van Oudheden
2.2c © Rijksmuseum van Oudheden
2.3a © The Trustees of the British Museum
2.3c © National Museums Scotland
2.3d © Rijksmuseum van Oudheden
2.3d © Rijksmuseum van Oudheden
2.3e
2.3f © National Museums Scotland
2.3a © The Trustees of the British Museum
2.4a © Rijksmuseum van Oudheden
2.4c © The Trustees of the British Museum
3.1a
3.1b
3.2a
3.2b
3.2c © Rijksmuseum van Oudheden
3.3a
3.4a
3.4b
3.5a
3.6a
3.7a – Image still to come
3.7b
3.8a – image to come
3.9a
3.10a
3.11a
3.11b
3.12a
3.13a
3.14a
3.14b
3.14c
3.15a – image still to come
3.15b
3.15c © Society of Antiquaries of Scotland
3.16a
3.16b
3.17a
3.17b
We are grateful to the Society of Antiquaries of Scotland for permission to
reproduce the illustration of the portrait of Alexander Henry Rhind.
All images © Trustees of National Museums Scotland, unless otherwise stated.
1 How to use this Box
This box contains handling objects and resources designed
to support learning about Ancient Egyptian belief, death
rituals, and mummification. It contains a mixture of real
and replica objects from Ancient Egypt.
The objects in the box explore the life and death of
Ankhhor, an important Egyptian priest and scribe who lived
over 2,650 years ago. Pupils can learn about life in Ancient
Egypt, Ankhhor’s place in society, his death, mummification
and burial in section 2. Activities to do with your group can
be found in section 3.
Section 4 contains information on how to use these objects
to set up your own exhibition as a class. This process is
fully supported on the National Museums Scotland website
where you will find videos and downloads to help you put
on an excellent exhibition.
http://www.nms.ac.uk/learning/schools/resources/
resources_for_workshops/create_your_own_exhibition.
aspx
Each object comes with its own object card which you will
find in section 5, where you can find out more info about
how it was used. These cards can be given out to pupils for
use in their own research.
Contact Details:
Fascinating Mummies Resource
National Museums Scotland
Chambers Street
Edinburgh
EH1 1JF
0131 247 4041
[email protected]
We would love to hear how you have got on using this box.
Please write or email us to let us know. Have fun!
National Museum of Scotland This resource has been funded by
the Robertson Trust. The Robertson
Trust is an independent Scottish
grant-making Trust which exists
to provide financial support to
charities across Scotland. To find
out more about the Trust please
see the Trust’s website: www.
therobertsontrust.org.uk. The
Robertson Trust part funded the
development of the new Learning
Centre at the National Museum of
Scotland, Chambers St, Edinburgh.
Fascinating Mummies
2 The Life and Death
of Ankhhor
2.1 Setting the Scene
Ankhhor was born 675BC, in Thebes a city in Egypt, which is
now called Luxor. He and his sister, who was called Taawa, were
part of a privileged family of priests. When he grew up he was
ordained as a priest of Montu, just like his father before him and
his father before him too. It was an interesting time for EgyptAfter centuries of foreign invaders there was now a pharaoh that
would make Egypt great again - Pharaoh Psamtik I. These were
exciting times, where Egypt had one true king again. A time of
great hope for the future.
Objects
relating to this section
3.1 Tunic
3.2Sandals
3.16 Clay Vessel
3.1
Pieces of Bread
Ankhhor was part of the elite class. His villa had a beautiful
garden and he could afford the best of everything. He would
have had bread, wine, all kinds of fruit and vegetables, honey
cakes, meat and fish. There was plenty to keep him busy. He
went to parties, harvest feasts, remembrance ceremonies and
spring festivals. He would have had time to go hunting and
fishing, listen to a harpist with his wife and of course play board
games. A board game called sennat was hugely popular in his
day. His clothes would have been looked after by his servants
and stored in chests, not baskets. He and his wife wore wigs for
different times of day for different functions. But his pride and
joy were his children and he had a lot of them!
Facts
•
When we talk about Ancient Egypt we mean that time in
Egypt’s history that lasted from around 5000 BC – seven
thousand years ago - to the time of Roman conquest
in 30 BC.
•
The river Nile was important in the daily lives of ancient
Egyptians and many people worked as field hands or
farmers tending the fertile land along its banks.
•
The ruler of Ancient Egypt was called the Pharaoh. He was
the political and religious leader of the whole country, and
had many advisers and officials to help him.
•
The Ancient Egyptians invented three scripts, including
hieroglyphics and made written records of information
about business, religion, poetry, literature, history and laws.
By examining their writings we can tell that Egyptians
asked themselves many of the same questions we might
ask. How was the world created? Where does the sun go at
night? What happens to us after we die?
•
There were many jobs at the time: priests worked in
temples, there were craftsman, scribes and soldiers.
National Museum of Scotland 2.1 Egyptian Clother.
Fascinating Mummies
•
People wore clothes made of linen and sandals made from
reeds or leather. Both men and women wore jewellery, wigs
and make-up. The more important you were, the better
quality materials they would be made from.
How do we know that?
•
We know quite a lot about the Ancient Egyptians because
we are able to examine so much of what they left behind.
The hot, dry weather in Egypt - and the fact that Egyptians
used sealed tombs - means that even some delicate
materials like wood, papyrus, cloth and skin have been
preserved.
•
Our first clues about how to read Hieroglyphics came
in 1799 whenever the Rosetta Stone was discovered in
Egypt. It had a portion of text written in Hieroglyphics and
translated into Greek, but it took another 23 years before it
was fully decoded.
2.2 Life as a Priest
Off to work again for Ankhhor. Not that he minded really, being
a Priest in his day was a very well respected job. He was a priest
of the god Montu, who was a god of war and the land around
Thebes, just like his father, grandfather and great grandfather. He
looked forward to spending his days performing rituals on behalf
of the pharaoh. But as a priest he only worked for one month
three times a year! The rest of the time he would have been
employed as a doctor or a lawyer. Ankhhor was highly educated
– only one in every hundred people knew how to read and write.
He also knew the sacred writing of hieroglyphs which took 12
years to learn.
People in Egypt at the time were totally religious. Priests had no
pastoral duties, so they were not clergymen with a congregation
– they were servants of the god. The servants of Montu would
take the god’s statue out in the morning, present it with incense
and natron (the equivalent of toothpaste), dress it up for the new
day and present it with a meal. They did same again at mid-day
and sunset. Once a year the pharaoh would visit the temple.
Ankhhor would have taken his place in the line with all the other
priests to meet him.
2.2a Temple in Luxor
Facts
•
Egyptians believed that the pharaoh was the only personal
link between man and the gods who protected the cosmos.
However, the pharoah could delegate tasks to the priests,
‘servants of the gods’- who performed all of the daily
rituals on the pharaoh’s behalf.
•
Temple rituals were intended to keep the god fed and
happy, and therefore look favourably on the people. A
statue of the god was kept in the temple sanctuary, which
could be inhabited by his or her spirit.
National Museum of Scotland Objects
3.1 Tunic
3.2 Sandals
3.3 Reed Palette and Pen Set
3.4 Papyrus
3.15 Stela
Fascinating Mummies
•
A large temple was run by a hierarchy of priests, headed
by the high priest and his deputies. Ankhhor was a middleranking member of Montu’s priesthood. In addition to his
ritual duties, he would also have been responsible some of
the temple’s administration.
•
Like all priests, would have been educated as a scribe,
writing in hieratic script on either papyrus or ostraca –
smooth fragments of pottery and limestone.
•
In the ancient world very few people could read and write.
The skill was a more like a profession or trade, in the same
way being a lawyer or plumber is today. This profession
was often passed along family lines so that a person whose
father was a scribes would become a scribe too. They often
worked for the government and became important people.
Example of a Papyrus Scroll 2.2b
•
The burial of Ankhhor and his family may originally been
discovered by Giovanni Battista Belzoni, an Italian explorer.
Belzoni once owned the coffin of Ankhhor’s sister, Taawa
and had carried out some excavations at Deir el-Bahri.
However, it may Belzoni may simply have bought the
coffins from grave robbers.
•
The coffins and sarcophagus give Ankhhor the title ‘Priest
of Montu-Lord-of-Thebes’. Montu was an Egyptian god
whose main temple was at Karnak, on the east bank of
the Nile at Thebes (modern Luxor). Many members of the
priesthood of Montu were buried at Deir el-Bahri, on the
west bank at Thebes. It is likely that Ankhhor was originally
buried here as well.
•
The texts on the coffins and sarcophagus mention that
Ankhhor was the son of Hor, another Priest of MontuLord-of-Thebes, and his wife Nesmut, who was a temple
singer of Amun-Re-Lord-of-the-Thrones-of-the-Two-Lands.
Therefore Ankhhor’s parents worked in adjacent temple
complexes at Karnak.
•
From analysing his mummy we can tell a lot about what
he looked like – even that he had a goatee and good teeth.
From these scans we know he died just before he was
40, but was fairly healthy and had no obvious illnesses or
injuries.
2.2c Coffinof Ankhhor
2.3 Mummification
Ankhhor was getting older. In his late 30s he was really old for
an ancient Egyptian. He had raised his children and taught them
everything he knew. He hoped they would continue the priestly
line in his family, but now he would never know. He was a very
wise and respected member of the community. But his time
had come. The gods called him home. He died before he was 40
years old.
Ankhhor believed that life didn’t stop with his death. He believed
his body must be preserved so that he could use it again in the
afterlife. For this reason he was very ready for his death. He had
been to the workshop where the coffins were made and picked
one out. He had successfully avoided the crooks. Sometimes the
people making the coffins would go back to the tomb after the
burial and get the coffin back. They would wipe off the name
and sell it again. He had also paid for his embalmers, who offered
different levels of mummification. So everything was set for him
to become a “mummy”.
National Museum of Scotland Objects
3.5
Canopic jar and lid
3.6 Wrapping
Mummification 3.7 Tool
3.8 Natron
3.9 Charms
3.10 Eye of Horus
3.11 Scarabs
Fascinating Mummies
FACTS
Mummification Process:
•
Mummification took place in tents on the West bank of the
Nile and the whole process took 70 days – the length of
time the certain stars disappeared from the sky each year.
•
The first stage is embalming – this requires the body to be
washed and to have its organs removed. A hole would be
cut in the side of the torso, which would allow the organs
to be taken out of the body.
•
The organs were mummified separately and placed in
canopic jars – each one relating to a protective god:
• Duamutef (Jackal) = stomach
• Qebehseneuf (Falcon) = Intestines
• Hapi (Baboon) = Lungs
• Imseti (Human) = Liver
•
A metal hook was inserted into the nostril, up into the skull
to mash up the brains. They could then drain out through
the nostrils.
•
The body would be covered in natron and allowed to dry
out for many days.
•
The heart was returned to the body
•
Then the Mummies were wrapped, in strips of linen, with
charms and amulets inserted in the layers. It was believed
that these would help protect the mummy in the afterlife
and bring them good luck.
2.3a
•
At the time of his death it was customary to place the
wrapped mummy inside a pair of mummy-shaped coffins
and then in a rectangular wooden sarcophagus.
•
Early Egyptians used to wrap bodies in mats or furs and
then place them in baskets, pots or clay coffins. Later on,
they developed the process of mummification - preserving
bodies and wrapping them in strips of linen.
•
Ancient Egyptians buried their dead in tombs. The largest
of these are called pyramids, and most were built for
Ancient Egyptian Pharaohs (kings) and their families. There
are about 80 pyramids that we know of today.
•
Cemeteries and pyramids were usually built in the desert on
the western bank of the Nile. This was because the sun set
- or died, as the Egyptians believed - in the western horizon
every night.
•
Within the tombs they put the things they thought they
might need in the afterlife, like food, clothes, furniture,
jewellery and even model people (shabtis) to act as
servants.
•
They also had commemorative inscriptions, which were
made on slabs called stelae, which were made of stone or
wood and served as gravestones.
•
The Egyptians also mummified animals, including
crocodiles, cats, dogs, baboons and ibises. There were
different reasons for this – because they had been
beloved pets, to provide food in the afterlife, or to honour
corresponding gods.
•
After the process was complete Ankhhor had a funeral. This was a big occasion with family, friends and colleagues.
It began at his home on the east bank of the river and then
the party crossed the Nile by boat to start the long climb
up to the burial site. His body was placed in tomb, beneath
the ancient temple of Hatshepsut where there would have
been a ceremony.
•
Ankhhor’s Mummy, still intact
complete with blue bead
representing the stars and gold
amulets for protection. 2.3b
Placed in his burial chamber Ankhhor, would lay untouched
until the discovery of his tomb, 2500 years later.
National Museum of Scotland Mummified cat 2.3c
© National Museums Scotland
Fascinating Mummies
•
The mummy of Ankhhor and its three coffins came to
museum in the Leiden, Netherlands in 1826. Two years
earlier, the museum’s first director, Caspar Reuvens (17931835), having unwrapped one mummy, had forbidden
any further such dissections, and Ankhhor was left intact.
However, in 1965, X-rays provided the first glimpse inside
the wrappings.
•
Ankhhor only really revealed his secrets in 1999, when the
technique of computerised tomography (CT) was used
to scan his body, with in-depth analyses of the resulting
images carried out by Egyptologists and radiologists.
CT scanning of a wrapped mummy 2.3d
•
The images from the scans gave insight into Ankhhor’s
anatomy, his age and the way in which he was
mummified. Ankhhor was approximately 1.60 metres tall,
and probably between the ages of 32 and 50 years old
when he died. His teeth were in a relatively good condition,
which was uncommon in ancient Egypt. His body was
properly mummified: his organs and brain were removed
but his heart was left inside. It is impossible, however, to
determine the cause of death.
X ray scan of Ankhhor 2.3e
2.3f CT scan of a mummy
•
Modern technology makes it possible to look in detail
at the body without disturbing it. The scans showed the
shapes and exact locations of the many amulets and
objects that the embalmers had placed on the body and
between the wrappings during the mummification process.
2.4 Afterlife
Ankhhor believed that after his death came his biggest moment
– when how he lived his life would be judged. If he had been
good enough he would go to paradise, but if not a terrible fate
awaited him. Ancient Egyptians believed that after your death
your soul takes flight, carried by a little bird with a human head,
to face may challenges before the final judgement. He has
been well prepared for this – in his coffin is a “Book of the Dead”,
unique for him. It is a kind of guide book to the Underworld with
lots of spells to help him on his journey.
Objects
3.13
Osiris Figure
3.14 Shabti Figure
3.15 Stela
Ankhhor’s journey through the Underworld is terrifying. He has to
cross a river, battle snakes, bees and crocodiles before beginning
the weighing of the heart ceremony. This is the ultimate test of
whether he has lived a good enough life to enter paradise. He
is led towards the scales by Anubis, the jackal-headed god. He
is very nervous, will he pass the test? His heart is placed on the
left side of the scales. On the other side is the feather of truth.
Will his heart be too heavy? He hopes not because waiting next
to the scales sits a creature called the Devourer. The Devourer is
part-hippo, part-leopard and part-crocodile. It will eat him up if
he fails the test. Thoth, scribe of the gods, who has a bird’s head,
records everything that happens.
Phew! It looks like he’s okay so far. Next Ankhhor enters the
Judgement Area where he defends himself against a panel of
gods, based on his deeds during his life. That seems to have
gone okay too! It’s looking good, but oh no, now Horus, the
falcon headed god is leading him to a final judgement before
Osiris.
Hurrah! It’s all okay, Osiris has granted him permission to enter
into paradise, where there were lavish crops, plenty of food and
drink, games to play and of course all his family to keep him
company.
Ba bird 2.4a
Facts
•
The Ancient Egyptians worshipped many different gods
and goddesses, each one with a different role - looking
after the harvest, taking care of people after they died, or
bringing victory in battle.
•
The Ancient Egyptians built temples that were dedicated
to individual gods or goddesses. These were tended by a
temple priest and ordinary people were not usually allowed
to go inside.
•
When someone died, it was believed that they would be
judged before entering the afterlife. Their heart would be
weighed on a pair of scales to show how many good and
bad deeds they had performed during their life.
Book of the dead 2.4b
•
Once a mummy was wrapped and ready for burial, there
was a ceremony called the Opening of the Mouth. The
Egyptians believed this would let the soul re-enter the body,
and make sure the mummy could eat and drink in the
afterlife
2.4c Weighing of the heart papyrus of Ani. Can you spot the Scary Devourer, Anubis, the heart and the feather?
•
Experts called Egyptologists have done lots of research
decoding papyri and hieroglyph text on tombs. A good
source of information is the Book of the Dead, a book of
spells and pictures to help the deceased in their journey
through the afterlife.
• No two copies of the Book of the Dead were identical.
Each contained a slightly different set of spells, some
were illustrated others only contained text. The text was
sometimes written in hieroglyphs, but most were in the
hand-written form of the script known as hieratic. Later
examples were in a different hand-written form, demotic.
3 Object Information Cards
In this section you will find information about all the objects in
the box. There are a mixture of real and replica items. Real items
have been marked with a star, special care should be taken with
these. For ideas how to use these with your group, please see the
Classroom Activities and section. The objects are divided into
the following three themes:
Life as a Priest
3.1 3.2 3.3 3.4 Tunic
Sandals
Writing Material
Papyrus
Mummification
3.5 3.6 3.7 3.8 3.9 3.10 3.11 Canopic jar and lid*
Wrapping
Mummification Tool
Natron
Charms*
Eye of Horus*
Scarabs
Afterlife
3.12 3.13 3.14 3.15 3.16 3.17 Bracelet and Necklace*
Osiris Figure*
Shabti Figure*
Stela
Clay Vessel
Pieces of bread
Good Handling Guide
This collection is used by lots of different groups so we would like
your help to keep the collection in good condition. Please follow
these guidelines for working with the objects and talk them
through with your group.
1. No food or drink should be consumed near the objects.
2. Always hold objects over a table and hold them in two
hands.
3. Don’t touch objects, or point at them, with pencils, pens or
other sharp objects.
4. Check the objects at the start and the end of each session.
5. Please report any missing or broken items using a
photocopy of the form in section 6.
3.1 Tunic replica
3.1a
3.1b
•
Ancient Egyptians would have worn tunics like this as their
everyday clothing.
•
Different styles and materials would have been available,
these would have indicated the wealth and status of the
wearer. For example, the Pharaoh wore very fine, light linen
and the slaves wore much coarser fabric.
•
Linen was woven from fibres of the flax plant. This was a
very difficult and time-consuming process. However, the
Ancient Egyptians thought it was worth the extra effort
because linen helps to keep the wearer cool in extreme
heat.
See
See the fabric, and the
shape of the tunic. Does it
look anything like clothes
we wear today?
Touch
Touch the material. Do
you think it would be
comfortable to wear all
day?
Think
What did the Ancient
Egyptians have to consider
when they made clothes?
4.2 Sandals replicas
3.2b
3.2a
•
Sandals were the everyday shoes worn by Ancient
Egyptians. They were made from wood, soft leather,
papyrus, palm fibre or reeds.
•
The replica sandals on the left are made from wood, and
held onto the wearer’s feet with ties made of leather.
•
The replica sandals on the right are made from cane to
replicate the palm fibres that would have been used on the
real items.
This picture shows real palm leave
sandals from 712- 332 BC. 3.2c
See
See the shape and style of
the sandals. Do they look
like shoes we wear today?
Touch
Touch the surface of the
sandals. Do you think
they would have been
comfortable to wear?
Think
Think about the materials
used and the style of the
sandals. Are they well
suited to the climate of
Ancient Egypt?
3.3 Reed Palette and Pen Set replica
Real palette and reed pen set. 3.3b
3.3a
•
The equipment used by Ancient Egyptian scribes was a
palette and reed pens. The palette would have held dry
cakes of different of red and black ink, which the reed pens
could be dipped into water and then brushed across.
•
The pens were made from reed, a plant which grows in the
Nile, which were frayed at one end.
•
The palette is made from wood, which was quite rare in
Ancient Egypt and may have been imported from abroad.
•
In the centre is a compartment with a sliding top which
was used to store the brushes.
•
These tools were used to write many different kinds of
documents – personal letters, official records and accounts.
•
Only around one in a hundred Egyptians could read and
write; but the huge amount of written material that
survives has helped us learn a lot about Ancient Egypt.
See
See the hieroglyphics
decorating the palette.
What do you think these
might mean?
Touch
Try holding a reed pen.
Would it be easy to write
with?
Think
Do you think scribes were
important in Ancient Egypt?
What clues are there in the
scribe’s equipment?
3.4 Papyrus replica
3.4a
•
•
For official documents Ancient Egyptians wrote on
papyrus, like we use paper today. However as Papyrus
was expensive, for unofficial communications and for
teaching, scribes wrote on shards of pottery and limestone
fragments.
The papyrus was made from sliced and interwoven stems
of the papyrus plant. Strips of wet papyrus would be laid
on top of each other at right angles, to make sheets.
Sheets were then pasted into long rolls laid flat, slightly
overlapping and hammered into a single sheet, dried, and
polished.
Ostracon in limestone, text praises
the king as he appears on the warchariot c 1900BC 3.4b
See
See the colour of the
papyrus. Does it look like
paper we use today?
Touch
Touch the rough surface of
the papyrus. Do you think it
would be easy to write on?
Think
Why would the Ancient
Egyptians have made
their paper from papyrus,
instead of making it from
wood like we do today?
3.5 Canopic Jar and Lid
3.5b
Canopic jars of Djedkhonsuefankh
These were carved between 1070-663 BC from limestone
See
See the lid in the shape of
a figure – can you work out
what it is and which deity it
represented?
3.5a
•
When a body was being mummified, the intestines,
liver, lungs and stomach were removed and mummified
separately.
•
These organs would each be placed in a canopic jar, and
the four canopic jars would be left in the tomb alongside
the mummy. The Ancient Egyptians believed that this
would make the person complete in the next world.
•
Some canopic jars represent four sons of the god of the
underworld Horus.
• The liver would be placed in a human headed jar
(Imsety)
• The lungs would be placed in an ape headed jar (Hapi)
• The stomach would be placed in a jackal headed jar
(Duamutef)
• The intestines would be placed in a falcon headed jar
(Qebehsenuef).
•
This jar is made from limestone. It would have been carved
by a skilled craftsman using a mallet and a chisel.
National Museum of Scotland Touch
Touch the marks on the
inside of the jar where
the limestone has been
hollowed out. How long
do you think it would have
taken a craftsman to make
it?
Think
How would you feel if you
discovered an object like
this?
Fascinating Mummies
3.6 Wrapping replica
3.6a
3.6b
Real Linen wrappings of Djedhor
•
This is a replica linen wrapping, just like the ones that
were used on the real mummies. Several metres of linen
were used to wrap a body. One mummy was found to be
wrapped in almost 375 metres of fabric. 380-343 BC
•
Bandages were used to wrap mummies once they had
been dried and preserved. The whole body would have
been wrapped in several layers of bandages, with amulets
inserted between the layers and resin covering every layer
as a preservative.
•
The Ancient Egyptians may also have used wrapping in
some of the same ways we use them today, for example in
bandaging wounds.
•
These wrapping have been woven from linen. Linen was
made from the fibres of the flax plant.
See
See the colour and texture
of the material. Do they
look like bandages we
would use today?
Touch
Roll out the linen bandage
and see how long it is.
How many do you think
you would need to wrap a
whole body?
Think
Egyptians put so much
effort into wrapping their
mummies?
3.7 Mummification tool replica
3.7a
3.7b
Real hook probe used in mummification
•
This is a replica of the hooked piece of metal was an important
tool used in the mummification process
•
It would have been inserted up the nose of the body and then
poked around inside the skull until the brains were mashed up.
The brains could then be drained out of the body through the
nose.
See
See the top of the tool. Why
was the end hooked?
Touch
Hold the tool. Is it
comfortable to hold?
Could you perform delicate
operations with it?
Think
Why would the Egyptians
have wanted to remove the
mummy’s brains through
the nose?
3.8 Natron replica
•
Natron is a natural substance, and is a mixture of soda ash,
salt and baking soda. The Ancient Egyptians would have
collected it from dry river beds.
•
Natron was used by the Ancient Egyptians during the
mummification process. Bodies would be stuffed with
and covered in, natron for 40 days. This absorbed all the
moisture from the body and helped to prevent the spread
of bacteria.
•
Natron is very useful – it can also be used as soap,
toothpaste, mouthwash, household cleaner, antiseptic for
wounds, preservative for fish and meat, insecticide, bleach
for clothing and in making leather products, dyes and
faience.
See
See the size of this
container of natron. How
much do you think would
be needed to dry out a
whole human body and
make it into a mummy?
Touch
Feel the weight of the
container. Is natron heavy?
Think
Egyptians have thought
natron was valuable?
3.9 Charms
3.9a
•
Charms – or amulets - were worn by both living and dead
people in Ancient Egypt. They could be worn as jewellery,
or wrapped into the bandages of mummies.
•
The embalming priests recited spells and prayers, whilst
placing amulets between the bandages and on the
mummy to protect the dead on the journey into the
afterlife.
•
The Ancient Egyptians believed that amulets could protect
the wearer against illness and evil or give them special
powers like strength and bravery.
•
Amulets came in a variety of shapes – animals, plants,
hieroglyphs, or sacred objects. The combination of shape,
material and colour were important to the effectiveness of
an amulet.
•
The brown and blue amulets are called Isis Knots. The
green figure is Tawaret and the last green amulet is a
papyrus scroll. These are protective amulets.
See
See the different colours
of the amulets. Why might
the Egyptians have wanted
to make them in different
colours?
Touch
Touch the small holes in the
amulets. What do these tell
us about how they might
have been worn and used?
Think
Who might have worn or
used these amulets?
3.10 Eye of Horus
See
3.10a
•
The Eye of Horus was one of the most powerful amulets in
Ancient Egyptian times. It is also known as the wedjat or
udjat eye, which means flourishing or healthy.
•
Horus was the god who protected the Pharaoh. In a myth
Horus was said to have lost his left eye in battle. It was
later found and returned to him, so it symbolises being
made whole again after death.
•
This amulet is made of faience, which is a mixture of sand,
lime and natron (a type of salt) mixed with water to form a
paste. The paste could be moulded into different shapes,
then glazed and fired so that the faience would harden and
the outer surface would become shiny.
•
Can you make out the
shape of an eye?
Touch
Is faience light or heavy?
Would it break easily, or is it
quite strong?
The blue green colour comes from adding a compound
called copper oxide to the glaze before it is fired.
Think
Why would an eye be
a good symbol for a
protective amulet?
3.11 Scarabs replicas
3.11a
•
This is an amulet, or protective charm, called a scarab. The
scarab was one of the most powerful amulets in Ancient
Egyptian times.
•
Scarabs are in the form of a dung beetle. The Ancient
Egyptians believed this was a symbol of rebirth after death.
•
Scarabs were often wrapped into the bandages of
mummies. In later Egyptian times, a scarab was placed
above the heart of the dead person. This heart scarab was
to ensure that the heart did not betray the dead person
during the judgement ceremony in the Afterlife.
See
See the size of the scarabs.
Why do you think they
were bigger than the other
amulets?
Touch
Touch the detailed carvings
of the scarabs. Think about
all the work that must have
gone into making these –
what does this tell us about
how important scarabs
were to Ancient Egyptians?
Think
Egyptians used the dung
beetle to represent their
belief about rebirth. Can
you think of other stories
about animals that have
been used to represent
beliefs?
3.12 Bracelet and Necklace
See
•
Ancient Egyptians wore bracelets and necklaces like these
as jewellery. They also wore rings, anklets, earrings, hair
bands, and hair pins.
•
Important people wore broad collars made of gold and
precious stones which fastened at the back of the neck.
Ordinary people wore necklaces made of brightly coloured
beads.
•
Ancient Egyptians believed that jewellery could have
protective powers and bring good luck, which is why
mummies were often buried with pieces of jewellery.
•
Beads were made by moulding a small piece of faience
paste around a thread. The beads would then have been
glazed and fired, so that the faience hardened and the
thread burned away. This left a hole, so that the finished
beads could be threaded and made into a necklace.
See the different colours
of the beads. Sometimes
faience beads were made
to look like semi-precious
stones.
Touch
Touch the surface of the
beads. What do you think
the bracelet and necklace
would have been like to
wear?
Think
Why do you think faience
might have been made to
look like precious stones?
Think about what materials
might be easy to find in
Egypt.
3.13 Osiris Figures
See
See the rearing cobra at
the front of the crowns.
This is called the Uraeus,
and represents royalty and
authority.
3.13a
•
These statuettes (small statues) are made of bronze, which
is a mixture of copper and tin.
•
Osiris is the god of the dead and the ruler of the
underworld. He is one of the most powerful gods in Ancient
Egypt. Osiris is always shown as a mummified king holding
a shepherd’s crook and a flail (an agricultural tool), which
symbolise his responsibility to guide his people and provide
for them.
•
Statuettes like these are found in burial chambers, and also
in temples and homes. The Ancient Egyptians believed that
it was important to recognise and worship their gods and
goddesses.
•
These were probably made using the lost wax method. A
figure would be carved from wax, and then covered with
clay and fired. As the clay hardened, the wax melted and
ran out of a small hole in the clay. Molten bronze would
then be poured into the hole left by the wax. The bronze
hardened and cooled, and the clay was chipped away to
reveal a bronze figure.
National Museum of Scotland Touch
The bottom of the figures
– what tells you that they
might once have been fixed
to wooden bases?
Think
Who might have owned
statues like these?
Fascinating Mummies
Extra info
The Osiris myth
According to ancient Egyptian myth, Osiris, son of the goddess
Nut, was killed by his jealous brother Set. To prevent Osiris being
brought back to life, Set dismembered the body and scattered
the pieces throughout Egypt.
Isis, Osiris’s sister and wife, collected the pieces of Osiris’s body
and used her magical powers to restore him to life. With the help
of the god Anubis, she bound and wrapped the body. This was
the very first mummification and brought Osiris back to life.
Having conquered death, Osiris became the god of resurrection
and afterlife, ruling over the Kingdom of the Dead. Osiris and Isis
had a son, Horus, who avenged his father’s death by defeating
Set in a battle for Egypt’s throne.
These characters are all included and recognised in the rituals
surrounding mummification, which you can find out more about
in the Classroom Activities section.
3.14 Shabti Figures
3.14a
•
•
•
3.14b
A shabti is a small figure of a person, which is meant to
represent a field worker. They sometimes hold tools and
carry a sack or water container.
Shabtis were buried with a dead person, to act as servants
for them in the afterlife. Very important people might
have had a shabti figure for every day of the year (365),
together with one overseer for every ten. This makes a total
of 401 figures!
These shabtis are made from faience, although sometimes
shabtis were made from other materials like wood.
3.14c
See
See the hairstyles and
beards of the shabtis.
Are these styles common
today?
Touch
Touch the hieroglyphs that
have been carved into the
figures. What do you think
they might mean?
Think
What sort of jobs do you
think shabti servants would
be expected to do in the
afterlife?
3.15 Stela replica
3.15a
•
This stela is a slab of wood which is painted with Ancient
Egyptian writing and pictures. The decoration would have
been done by a scribe.
•
Stelae were used for lots of different purposes – for
example as tombstones, monuments, and boundary
markers. This means that they can be different shapes,
sizes and colours.
•
This stela is a tombstone – it made it possible for the spirit
of the dead to leave the burial chamber and enter the
chapel and enjoy the food-offerings by the living. Food was
also magically created by the texts and scenes on the stela.
•
Stelae usually lay in the innermost part of the tomb.
They were often carved and painted with scenes showing
the deceased in front of a table of offerings, with
representations of family members or servants bringing
food and drink. The deceased would often be depicted
making offerings to the gods.
•
Egypt has few large trees, and so wood is quite rare. This
wood probably came from north of Egypt – maybe from
Lebanon.
•
At the top you can see a disk with wings. The heiroglpyhs
read “Behdet” which was the name of an ancient city in
Egypt. The name means “throne” or “great seat.”
•
The picture shows the dead person, who is sitting down,
offering to Osiris. The three standing figures are the
children of the dead person.
•
The symbols below are writing, but it is almost impossible
to read.
National Museum of Scotland 3.15b Real Stela
See
See the bright colours used.
How do you think ancient
Egyptians would have made
coloured paint?
Touch
Touch the rough wooden
surface. Why might the
Egyptians use wood for a
stele? What other materials
could they use?
Think
What sort of things can we
learn from reading a stela
like this?
Fascinating Mummies
Extra Info
The original version of this stela was collected by Alexander
Henry Rhind (1833-1863). Rind had become interested in
archaeology when he was a teenager. In 1853 he fell ill with a
lung disease, while studying Law in Edinburgh. To escape from
the cold and damp of Scotland, started to spend time in England,
France and in Egypt.
While in Egypt he undertook excavations in a number of places,
mainly around modern Luxor, which in ancient times was called
Thebes. He is regarded today as one of the first excavators to
scientifically record his discoveries, which included many objects
now in National Museums Scotland. His career was tragically cut
short when he died in Italy, on his way home from Egypt in July
1863, aged 29. He is buried in Wick parish churchyard.
The original is actually a fake which was made, at best guess
during the Roman times, around 1st Century AD. It is not as
detailed as a real stela would have been and the text at the
bottom is virtually meaningless. Fakes were often made for the
tourist trade during these times.
© Society of Antiquities of Scotland
National Museum of Scotland 3.15c
Fascinating Mummies
3.16 Clay Vessel replica
3.16b Real clay vessel
See
3.16a
•
This is a replica of an Egyptian clay vessel. It would have
been used by the Egyptians to hold liquid, for example
beer, wine or milk.
•
These are common finds in Egyptian burials. The Egyptians
believed the dead needed food and drink in the afterlife, so
they often placed these in tombs.
•
This would have been made by moulding wet clay into the
right shape, and then firing it to make it hard. Sometimes,
vessels like this would have been glazed or engraved for
decoration.
•
Notice the lip at the top of the pot. These pots could have
been suspended using string tied around the neck and
hung from the roof.
See the size and shape of
the vessel. Do you think this
would hold enough for the
whole of eternity?
Touch
Hold the vessel in your
hands. Does it feel heavy
and strong?
Think
What other materials could
the Egyptians have used to
make similar vessels?
3.17 Pieces of Bread replicas
3.16a
•
Bread, along with other food and drink, was buried in
tombs because the Ancient Egyptians believed that the
dead needed nourishment in the afterlife.
•
Bread was an everyday food in Ancient Egypt, although
Egyptians would also have eaten fruit, vegetables and
occasionally salted fish and meat. They also drank beer,
which was made from barley.
•
To make bread the Ancient Egyptians first had to grind
grain to make flour. The flour would then have been mixed
with water to make dough and the dough baked in an
oven to make bread.
3.16b
Real Ancient Egyptian bread
See
See the size and colour of
the bread. Does it look like
the bread we eat today?
Touch
Touch the different shapes
of the bread. How would
the bakers have made
bread in these shapes?
Think
Bread was the staple diet
in ancient Egypt. How does
this compare to our diets
today – what other things
do we eat?
4 Classroom Activities
41 Art Scenes
The Ancient Eqyptians loved to draw pictures of their everyday
lives, inside their tombs. These pictures have been used for
centuries to give us clues about what life was like there in the
past. Create your own realistic scene in this activity using
beautiful paintings by Niccolo Rosellini, who captured lots of
these pictures in his own work in the 1800s.
CFE Level
First or Second
You will Need
•
Learning Intention
Fine grade sandpaper,
one sheet near A4
size per pupil.
•
Crayons
We are learning about life in Ancient Egypt.
•
Projector screen/
computer for
displaying Rosellini
images (alternatively
images from books
can be used)
We are learning how art can represent current culture, giving
historical insight into life at a particular time and place.
We are learning to visually present what we have learned in a
creative manner.
Task
We will create a scene for an Ancient Egyptian tomb, showing
aspects of daily life at the time.
Success Criteria
The scene should copy the style of Rosellini and depict at least
one aspect of daily life in Ancient Egypt.
It should be attractive to look at.
CfE Capacities
•
Successful learners, who can think creatively and
independently.
•
Effective contributors, who can create and develop an
artistic piece.
CfE Outcomes
I can compare aspects of people’s daily lives in the past with my
own by using historical evidence or the experience of recreating
an historical setting. SOC 1-04a
I have the opportunity to choose and explore a range of media
and technologies to create images and objects, discovering their
effects and suitability for specific tasks. EXA 1-02a
I have the opportunity to choose and explore an extended
range of media and technologies to create images and objects,
comparing and combining them for specific tasks. EXA 2-02a
Teacher / Pupil Instructions
Load up the powerpoint presentation showing on a suitable
screen the images of the paintings by Rosellini. This can be
cycling thoughout the activity for inspiration, or paused on the
montage image. Each pupil is given a sheet of sandpaper. With
the images of the Rosellini pictures on the board pupils sketch
their scene roughly using a pencil. Colour crayons can be added
after to bring the scene alive.
Any ancient Egyptian scene could be drawn here are some ideas:
•
The different clothing styles of different people
•
Using animals for transport
•
Making items for tombs in a craftsman’s workshop
•
Playing musical instruments
•
Scenes of war
•
Dances
•
Animal shows
Extension
To make this activity into a class project you could divide the
class into different sections to each do one wall of a “tomb”
joining the scenes together to create one big drawing or comic
strip style representation of the artwork.
4.2 Jobs drama
In groups pupils use real and replica objects to re-enact a
fictional drama about everyday life in Ancient Egypt.
You will also need a room large enough, or enough space to
accommodate dramas and performance.
Learning Intention
e.g. We are learning about life in Ancient Egypt by role playing
various characters.
We are learning to perform dramas which are historically
accurate, while being entertaining.
CFE Level
First or Second
You will Need
Handling Objects from box
relating to each drama In the Scribe’s Workshop
4.1 Tunic
4.2 Sandals
4.3 Writing Material
4.4 Papyrus
At the Embalmers
4.5 Canopic jar and lid
4.6 Bandages
4.7 Metal Hook
4.9 Natron
At Ankhor’s house
4.13 Faience necklace and bracelet
4.17 Clay vessel
4.18 Pieces of bread x3
At the Sarcophagus shop
4.16 Wooden stele
4.14 Bronze statuette of Osiris x2
4.15 Shabtis x3*
it is recommended that all objects,
especially the real objects are used
very carefully during any drama.
Real object should not be held
during performance, but can be
used as props on shelves, or table
tops etc.
Task
We will devise a drama in teams based around a particular
scenario, at a particular location in ancient Thebes. We will
perform this drama to the rest of the class. We will give
constructive feedback on each other’s dramas.
Success Criteria
Pupils will perform a pre devised drama of at least 3 minutes
length to an audience and ask for feedback and answer
questions on the content.
CfE Capacities
•
Successful learners; this activity will enable pupils to
demonstrate enthusiasm and motivation for learning,
working as part of a group to link and apply different kinds
of learning in new situations.
•
Effective contributors; this activity will give the pupils
opportunity to communicate in different ways and in
different settings, to take the lead and create and develop
their ideas as a team.
•
Confident individuals; this activity gives pupils the
opportunity to use and develop their ability to relate to
others, manage themselves and foster a sense of selfrespect and achievement.
CfE Outcomes
I have experienced the energy and excitement of presenting/
performing for audiences and being part of an audience for
other people’s presentations/performances. EXA 0-01a / EXA
1-01a / EXA 2-01a
I enjoy creating, choosing and accepting roles, using movement,
expression and voice. EXA 1-12a
I can create, adapt and sustain different roles, experimenting
with movement, expression and voice and using theatre arts
technology. EXA 2-12a
Inspired by a range of stimuli, I can express and communicate
my ideas, thoughts and feelings through drama. EXA 0-13a /
EXA 1-13a / EXA 2-13a
I have developed confidence and skills in creating and presenting
drama which explores real and imaginary situations, using
improvisation and script. EXA 1-14a
I have created and presented scripted or improvised drama,
beginning to take account of audience and atmosphere.
EXA 2-14a
Pupils are divided into four teams. Each team is given their props
(listed above) for each different location. A different scenario is
presented to each group which they will have to devise a drama
around:
1. In the Scribe’s Workshop
Props: writing set and papyrus
Scenario: Someone is trying to steal an important letter!
Characters you could include: Pharaoh/Queen, Nobles,
Messengers, Scribes, Apprentices, Thieves …
2. At the Embalmers
Props: canopic jar, amulet
Scenario: What’s wrong with the mummy?
Characters you could include: Priests, Apprentices,
Mourners, Mummy
3. Stonemason’s workshop
Props: canopic jar
Scenario: Something has been broken!
Characters you could include: Stonemasons, Priest,
Apprentices, Stone merchant, Customers…
4. Farmer’s house
Props: clay vessel, bread
Scenario: the farmer and his family are preparing a meal,
but something interrupts them!
Characters you could include: Farmer, Farmer’s wife,
Children, Farm helpers…
5. At the Sarcophagus shop
Props: stela, 3x shabtis
Scenario: a customer is being swindled with pre used
coffins
Characters you could include: Dodgy Sarcophagus sales
person, Customer, disgruntled family members
6. At the temple
Props: Priests tunic, sandals.
Scenario: the Pharaoh is coming to visit, because the gods
aren’t happy!
Characters you could include: Priests, Pharaoh, farmers,
Pharaoh’s officials.
Give the pupils 20 mins to come up with their dramas and do a
few rehearsals. Each drama should be performed to the rest of
the class and feedback from the class given. The pupils should be
asked to evaluate the plays for historical accuracy and the quality
of the storytelling/performance.
Extension
With further research and practise time a full scale ancient
Egyptian soap opera could be developed. With multiple scenes at
the same locations until a resolution is found in each scene.
Web Resources
This website can help explain the social structure of Ancient
Egypt: http://www.historyonthenet.com/Egyptians/society.htm
4.3 Become a Scribe
Using real and replica items, dress one of your pupils up as a
scribe to bring ancient Egypt to life. Use this as a prompt for
class discussion about what it would have been like living and
working in Ancient Egypt. Complete the activity by writing a
secret message on a fragment of pottery or tile and experience
the challenge of writing with ancient materials and limited
resources.
Learning Intention
We are learning about life working as a scribe.
Task
We will discuss what it would have been like to be a scribe as a
class, using our dressed up classmate as inspiration.
Success Criteria
Pupils know they are successful by actively contributing opinions
about what it would be like to live and work as a scribe.
Pupils produce a short message written on a fragment of pottery
or tile.
CfE Capacities
Effective Contributors; this activity gives pupils opportunity to
communicate in different ways and use their imaginations to
think about and unfamiliar context.
National Museum of Scotland CFE Level
First or Second
You will Need
4.1Tunic
4.2Sandals
4.3 Writing Material
4.4Papyrus
4.15 Stela
•
A fragment of pottery
or tile, per pupil. This
could be substituted
with scraps of paper.
Fascinating Mummies
CfE Outcomes
I can use primary and secondary sources selectively to research
events in the past. SOC 2-01a
I can compare and contrast a society in the past with my own
and contribute to a discussion of the similarities and differences.
SOC 2-04a
Part 1:
One pupil is dressed as a scribe, using the tunic, papyrus, writing
implements and the stela for reference. The rest of the class can
ask the scribe questions and offer opinions about what it might
have been like working as a scribe.
Part 2:
Paper was expensive in Ancient Egypt. For unofficial
communications Scribes would often write on broken pieces of
pottery as it was freely available. Pupils each have a piece of
broken pottery or tile, They may have collected this from home,
or have been given it by the teacher. They now have to write a
short secret message to someone else in the class. Pupils can use
whatever they want to write on the tile. How easy it is to write
on pottery? Is pen, pencil, or paint best? How much information
can you cram on to a shard of pottery?
Extension
This activity can be run using the Fun with Hieroglyphs
kit, included in the box. Pupils can code their message in
Hieroglyphs, or write their own name in Hieroglyphs. You can use
the web link below to display the Hieroglyphs and the associated
sounds on the board.
Web Resources
http://www.ngkids.co.uk/cool_stories/1036/hieroglyphics_
uncovered
4.4 Make Your Own Papyrus
In this craft activity pupils use everyday materials to re-enact the
process of making papyrus. The finished product can be used for
another activity, for example drawing an Ancient Egyptian Scene
or writing a coded message in hieroglyphs.
Learning Intention
CFE Level
First or Second
You will Need
•
Scrap paper torn into
strips around 20cm
long.
We will create a replica piece of papyrus using scrap paper.
•
Success Criteria
Basin, or tray for
soaking the paper
•
Place to dry the paper
e.g. a clothesline
•
Rolling pin and flat
surface.
•
Papyrus sheet (item
4.4 as example)
e.g. We are learning about the process of making papyrus
Task
Pupils will make at least one sheet of flat, dried “papyrus”, which
could be used in another activity.
CfE Capacities
Successful learners; this craft activity gives pupils the opportunity
to solve problems and be determined to reach high standards.
CfE Outcomes
I can use exploration and imagination to solve design problems
related to real-life situations. EXA 1-06a
I can develop and communicate my ideas, demonstrating
imagination and presenting at least one possible solution to a
design problem. EXA 2-06a
Tear sheets of scrap paper into strips of around 1cm width and
place blank side facing up. Using a clip board or plastic folder
clip hold the strips close together, running parallel to each other.
Next weave more strips in between the hanging strips. Alternate
the starting direction of the weaving strip to make the sure it all
holds together. Once you have woven an area 20cm x 20cm
soak the sheet in water. A small quantity of PVA glue can be
added to the water to help the paper stick together. Once the
paper is thoroughly wet remove it from the water and place on
a flat surface. Squeeze out the water using a rolling pin, binding
the sheets together. Hang your sheet on a clothes line to dry.
Once dry it can be used for another craft activity. Why not stamp
your name on it with Hieroglyph stamps?
Alternatively this activity can be presented as a problem solving
exercise. The pupils are given the materials and are read the
explanation of how real papyrus was made. Then in pairs they
have to decide on their method for making their own version
of Papyrus. Experimenting with different sizes of strip and
quantities of PVA and water etc to come up with the best sheet
possible.
Extension
Every mummy was buried with its very own copy of the book of
the dead. This contained pictures and spells to help the mummy
on his or her journey through the afterlife. Each person in the
class could make a section of the book of the dead, complete
with spells and pictures. See section on afterlife for more details.
These sections could be glued together for form one long book of
the dead and displayed on the classroom wall.
4.5 Mummified Fish
Mummify a real fish in this hands-on activity. Not for the feint
hearted!
Learning Intention
We are learning about the mummification process
Task
CFE Level
First or Second
You will Need
•
Success Criteria
Sprats (gutted), small
mackerel or gutted
herring
•
You will have completed each stage of the mummification
to have a fish which will be wrapped tightly in bandages and
decorated.
Salt around 150g per
fish
•
Wood shavings/
sawdust (scented
from the pet shop)
•
Tin foil
•
Strips of cotton (old
sheets/pillowslips/
hankies torn into
strips) Old flannelette
sheets are perfect
I can use exploration and imagination to solve design problems
related to real-life situations. EXA 1-06a
•
PVA or strong white
glue
•
String
We will create a mummified fish.
CfE Capacities
Successful Learners with enthusiasm for learning.
Effective contributers; an enterprising attitude, problem solving
and the ability to create and develop are all require for this
scientific craft activity.
CfE Outcomes
SOC 2-04a
1. Cover the fish in salt, inside and out if possible and leave
overnight on a drip tray in a fridge to draw moisture from
the body cavity. Bearing in mind it took about 70 days to
mummify a body, you could repeat the process.
2. Wipe off any excess salt and stuff the body cavity firmly
with wood shavings/sawdust. Secure with 2 pieces of string
ready for binding.
3. Wrap the fish in tinfoil making sure there are no holes and
then dip into PVA glue making sure no fish is visible. This
helps to cover the smell!! Leave to dry hanging from a line
or turn them over to make sure they have dried on the
other side too. Be careful when picking them and turning
them over as the tinfoil can rip. If it does so it will need a
patch and glued again.
4. When completely dry it will looks as if it is encased in
plastic. Wrap strips of cotton around the fish from head to
tail. When covered dip into the PVA again and leave to dry.
You can add more layers of cotton and glue as you wish.
The last layer is best not glued as you can then use the
fabric to decorate the mummies. You can make amulets
from coloured paper and place them between the layers of
wrappings too.
Note: There can be faint aroma from them but it tends to be
the glue itself, however, if it is a very strong fishy small and
there is discolouration of the fabric, then there is a little “hole”
somewhere which need to be covered up and glued again.
It’s a good idea to send a covering letter home with the fish
warning parents that the mummies do contain real fish and
that they should be kept outside in a garage or shed.
Extension
Imagine you have discovered your mummified fish inside an
Egyptian tomb. Write a diary entry from the point of view of
a Victorian explorer. Discuss what techniques you imagine the
embalmers have used to preserve the fish.
Web Resources
Have a look at this website to see some photos of animal
mummification and learn about animals in Ancient Egypt:
http://www.bbc.co.uk/history/ancient/egyptians/animal_gallery.shtml
Discuss this as a class or in groups – why animals were mummified,
the relationships Ancient Egyptians had with their pets, and the
importance of animals in Ancient Egypt.
These online resources can help to recap learning about the
mummification process:
http://www.ancientegypt.co.uk/mummies/home.html
http://www.bbc.co.uk/history/ancient/egyptians/launch_gms_
mummy_maker.shtml
4.6 Mummify your Friend’s Arm!
Re-enact the mummification process using your friend’s arm.
Use oil and salt for an extra messy and realistic experience.
Learning Intention
We are learning about the mummification process
CFE Level
First or Second
You will Need
•
Strips of cotton (old
sheets/pillowslips/
hankies torn into
strips) Old flannelette
sheets are perfect
•
1p and 2p coins to
use as amulets or
gummy sweets.
•
Effective contributors; an enterprising attitude, problem solving
and the ability to create and develop are all require for this
scientific craft activity.
Olive Oil and salt
(optional and a bit
messy)
•
Items 4.10 Small
Charms
Task
We will mummify our friend’s arm
Success Criteria
You will have wrapped your friend’s arm securely in linen
bandages, complete with amulets between the layers.
CfE Capacities
CfE Outcomes
SOC 2-04a
Ask your friend to roll up their sleeve. Cover their arm and hand
in salt to mimic the salting process. After a couple of minutes,
pour on some oil and make sure it covers their arm and hand
from below the elbow to the tips of their fingers. Next begin to
wrap their arm with cotton strips. After one complete layer place
some coins and/or gummy sweets in between the next layer. Repeat this process until you have covered their arm in at least
three layers. Congratulations you have mummified your friend’s
arm!
As a class look at all the amulets in the collection and discuss
what each might be for. If you were to be buried with amulets
what would they be and why? What traditions do we have in our
culture associated with burial that are the same or different?
4.7 Weighing of the Heart Cartoon
In this activity pupils will watch a cartoon about Ancient
Egyptian beliefs about the afterlife. Then, using flash cards they
work in pairs to piece the story together as a class.
Learning Intention
We are learning about how ancient Egyptian belief about the
afterlife. We are learning how to write creatively. CFE Level
First or Second
You will Need
•
We will watch the cartoon and explain to each other what it
means. We will create our own book of the dead.
Cartoon from
CD loaded on to
computer to watch on
a screen
•
Cartoon Flash cards
Success Criteria
•
Paper, pens, paints etc
•
Egyptian stamps from
Fun with Hieroglyphs
kit. Task
You will have successfully explained to the class the part of the
cartoon your group’s flashcard relates to.
You will have created your own version of the book of the dead.
CfE Capacities
Confident individuals who can develop and communicate their
own views on the world.
Responsible Citizens; this activity helps promote understand and
respect for other belief systems.
CfE Outcomes
Using what I know about the features of different types of texts,
I can find, select and sort information from a variety of sources
and use this for different purposes. LIT 2-14a
When I engage with others, I can respond in ways appropriate to
my role, show that I value others’ contributions, and use these to
build on thinking. LIT 2 -02a
I can show my understanding of what I listen to or watch by
responding to literal, inferential, evaluative and other types of
questions, and by asking different kinds of questions of my own.
LIT 2-07a
Watch the cartoon as a class and ask what the pupils think it is
all about. Hand out one flash card to a small group of children,
asking the pupils to carefully read the back of the card as a
group. Ask the pupils to shout “pause” when their card comes
on the screen. The teacher will have to be quick to click pause
in time! Ask one of the group to explain what their card is about
and what is happening in the cartoon at the time. Click play
again and continue until the cartoon is finished.
By now the pupils should have an appreciation for what the
book of the dead was for and the kind of spells it would need to
contain. They can now design and make their own. If the class
has also completed the make your own papyrus activity they
could use these sheets of paper to write on.
Extension
Having completed this activity ask the children to think about
what they think will happen to them after they die. They can
discuss it in their groups and feedback to the whole group if they
feel comfortable to do so.
Create dramas in groups charting the progress of a man through
this process of the judgement and the weighing of the heart
ceremony.
Web Resources
This section of the British Museum website gives more
information about the weighing of the heart ceremony.
http://www.britishmuseum.org/explore/young_explorers/
discover/a_closer_look-1/weighing_the_heart.aspx
4.8 Inscribe a Stela
In this activity pupils will design and make their own Stela – or
gravestone – using what they know about Ancient Egypt and
including real Hieroglyphs.
Learning Intention
We are learning about how ancient Egyptians recorded the
details of people’s lives after they had died.
CFE Level
First or Second
You will Need
•
Fun with Hieroglyphs
set included in the
box
•
One piece of
cardboard, covered in
white paper, or stiff
white card, roughly A4
sized
You will have a completed Stela which will contain a real message
written in Hieroglyphs.
•
Potatoes to make
hieroglyph stamps.
CfE Capacities
•
Print outs of the
hieroglyph alphabet
to use as templates
for the potato stamps
•
Paint
•
Plastic knives, or child
friendly craft knives.
•
One sharp knife (for
teacher use only)
•
Images of Stelae
from the Fascinating
Mummies
powerpoint.
•
Stela replica for
inspiration
We are learning how to use potato prints.
Task
We will create a Stela from cardboard and decorate it with
Egyptian art and Hieroglyphs.
Success Criteria
Confident individuals who can develop and communicate their
own views on the world.
Effective contributors; this activity gives opportunity for pupils to
communicate in a new way and understand how other cultures
in the past communicate and commemorate about people’s
lives.
CfE Outcomes
SOC 2-04a
We will first make the body of our stela which we can then
decorate. A stela is a gravestone shaped piece of wood or stone
of various sizes. Take a piece of cardboard, a little smaller than
A4 sized and cut into a headstone shape, with a curved top. Now
cover with white paper, so that you have a rigid white surface
which you can decorate. The top third of the Stela usually
contains scenes of the god of the underworld, Osiris and the four
sons of Horus. It tells the story of the deceased person facing
judgement for their life after their death. You can copy these
from the pictures given in the powerpoint.
Below the drawings/paintings you could write in your name in
hieroglyphs. To make a set of hieroglyph stamps from potatoes
do the following. The teacher should cut the potatoes in half.
Each pupil in the class should make one potato stamp, with more
able pupils tackling the more detailed characters. Cut out the
template and attach to the cut potato using a drawing pin. Next
cut around the picture using the plastic knife. Cut away potato
from the side to leave a relief of the hieroglyph. Now within the
class there should be a complete set, which pupils can share to
write their own names and messages on their stela. They are
used by dipping into poster paint and pressing on the stela.
Alternatively you can use the stamps included in the fun with
hieroglyphs set.
Any remaining space can be decorated with Egyptian style art,
inspiration can also found in the Powerpoint.
Web Resources
This online game explains more about stelae and the
hieroglyphics used to decorate them
http://www.nms.ac.uk/kids/people_of_the_past/discover_the_
egyptians/a_stela_of_a_tale.aspx
Online activities:
Check out the various games and resources online on the
National Museums Scotland website.
Egyptian Tombs game:
http://www.nms.ac.uk/education/kids/egyptian_tomb_
adventure.aspx
Explore the collection of Egyptian sarcophagi in the collections
of National Museums Scotland:
http://www.nms.ac.uk/highlights/egyptian_mummies.aspx
Learn about Iufenamu, the Mummy Priest in the National
Museum of Scotland:
http://www.nms.ac.uk/royal_museum_project/object_of_the_
month/iufenamun_the_mummy_priest.aspx
Learn about the archaeology of Ancient Egypt, and this very
special set of objects in the National Museums Scotland
collections
http://www.nms.ac.uk/highlights/objects_in_focus/qurneh_
burial.aspx
5 Create Your Own Exhibition
This section is designed to help you put on your own exhibition,
using the objects in this box, or any objects of your own which
you have collected. It comprises an introduction, “Why do we
put on Exhibitions?” which you can give to the class, using the
powerpoint presentation on the CD. There is then a series of
tasks, where the pupils take on the various roles in a museum to
complete their own exhibitions. To do this you can divide the
class into four groups and divide the objects between them. You
may wish to keep similarly themed objects together, or split them
up.
5.1 Introduction
Slide 1: Title
Slide 2: Why do we put on Exhibitions?
We put on exhibitions to show people old things, items they
would not normally get to see and so that visitors can learn
about different topics. For example looking at items from the
Victorian days can help you learn about what life was like at this
time. Or an exhibition about dinosaurs can help you learn what
dinosaurs were like.
Slide 3: Who works at the museum?
•
Curator – they are experts in their fields. For example we
have curators of natural science, covering everything in
the natural world, curators of World Cultures who know all
about different cultures around the world and curators of
Scotland and Europe.
•
Exhibitions Officer – these people are responsible for
organising and pulling together exhibitions. They work
closely with curators and designers.
•
Researcher – these people find and check facts to go into
the exhibitions.
•
Designers – take the information provided by the curators
and researchers and make sure it is displayed properly.
•
Marketing Officers – promote the exhibition to the public
so that lots of people come to see it.
•
Guides – help people as they are visiting the museum.
National Museum of Scotland You will Need
•
Create your own
exhbition powerpoint,
from enclosed CD
•
Thick card or
cardboard to make
the display case (at
least 75cm x 50cm)
•
Shoe boxes or other
smaller boxes to act
as stands in display
•
Material and coloured
paper to cover boxes
and make boxes look
attractive
•
Paper, pencils and
pens for writing object
cards, story panels
and drawing pictures
and maps.
Fascinating Mummies
Slide 4 Look closely at this display what can
you see in it?
•
Objects
•
Pictures
•
Text – story panels
•
Object labels (numbered section at the bottom, each
object has a label attached)
Slide 5 For your exhibition how will you find
out about the objects?
•
By looking at them and sometimes doing tests on them.
•
Doing research on the Internet.
•
Ask experts.
•
Books or other information.
Activity 1: Become a Curator
In this activity you become the expert on your objects. You will
have to research your object by; looking closely at it, reading the
object card and having a good think. Afterwards then you have
to make an object label.
An object label is a few lines about your object, usually saying
what it is and something interesting about what it was used for
or where it was found. This card will sit in front of your object or
have a number on it which will match up to a number beside the
object on display so that people know where to look to find out
what it is.
Remember to be careful with your object – it could be very
valuable. Hold it with two hands and always over a table.
Think about: what it is made from? And what it was used for?
Now write an object label
•
Use the object card to find out some information about the
object.
•
Write it by hand
•
Keep it short and simple
•
Only write the facts
Activity 2: Write a Story Panel
A Story Panel introduces the theme of your exhibition. Why are
you presenting these objects together? What story do these
objects tell? Working in your group, do a mind map of what your
story panel should include. Then one member of the group can
write (or type) it out for display, while the others get on with the
next task.
Activity 3: Become a Design Team
The design team has a few different roles which different
members of the team can do in pairs or by themselves.
Illustrator: Draw a picture of your object. Draw a picture of your
object being used. If it is incomplete why not draw the rest of it?
Was it from a different country? You could draw a map of where
it was found.
Case builder: Use thick card or cardboard to build a case. This
can sit on top of a table for display and should be open at the
front and top so that people can easily see the objects. It must
be sturdy enough to protect the objects and attractive to show
off the objects at their best.
3D Designer: As a group, arrange your objects in a case. You can
use shoe boxes covered with material as stands to make small
objects more obvious. Remember to make sure you can see all
the objects. You also need to stick up your pictures and story
panels, making sure it all looks nice together.
Activity 4: Become a Marketing Officer
The Marketing Officer’s job is to make sure people know about
the exhibition. There are many ways to promote your exhibition.
•
Posters
•
Leaflets
•
Newspaper advertisements
•
Internet
•
Television
•
Invitations
Depending on how much time you have and who you would
like to come to the exhibition you can do whichever of these
suits best. Make sure everything you create has the following
information on it:
•
Name of Exhibition
•
Brief info about the content
•
Date
•
Cost
•
Location
•
Contact details if people have more questions
Now you are all set to welcome people into your exhibition. On
the day, your group can take on different roles in your own mini
museum. Why not be a curator or tour guide and explain your
exhibition to the visitors? Maybe you could be a security guard
to protect the precious objects!
Curriculum links for this Activity
Literacy & English
Listening and Talking
Finding and using information
Understanding, analysing and
evaluating
Reading
Finding and using information
Writing
Tools for writing
Creating texts
Expressive Arts
Art & Design
As I listen or watch, I can identify and discuss the purpose,
main ideas and supporting detail contained within the text,
and use this information for different purposes.
LIT 2-04a
As I listen or watch, I can make notes, organise these under
suitable headings and use these to understand ideas and
information and create new texts, using my own words as
appropriate.
LIT 2-05a
I can show my understanding of what I listen to or watch by
responding to literal, inferential, evaluative and other types
of questions, and by asking different kinds of questions of my
own.
LIT 2-07a
Using what I know about the features of different types of
texts, I can find, select andsort information from a variety of
sources and use this for different purposes.
LIT 2-14a
I consider the impact that layout and presentation will have
and can combine lettering, graphics and other features to
engage my reader.
LIT 2-24a
I can convey information, describe events, explain processes or
combine ideas in different ways.
LIT 2-28a
Through observing and recording from my experiences across
the curriculum, I can create images and objects which show
my awareness and recognition of detail.
EXA 2-04a
I can develop and communicate my ideas, demonstrating
imagination and presenting at least one possible solution to a
design problem.
EXA 2-06a
I can respond to the work of artists and designers by
discussing my thoughts and feelings. I can give and accept
constructive comment on my own and others’ work.
EXA 2-07a
Social Studies
People, Past Events and
Societies
I can use primary and secondary sources selectively to
research events in the past.
SOC 2-01a
I can discuss why people and events from a particular time
in the past were important, placing them within a historical
sequence.
SOC 2-06a
People in society, economy and By experiencing the setting up and running of a business, I can
business
collaborate in making choices relating to the different roles
and responsibilities and have evaluated its success.
Technologies
Craft, design, engineering
and graphics contexts for
developing technological skills
and knowledge
SOC 2-22a
During practical activities and design challenges, I can
estimate and measure using appropriate instruments and
units.
TCH 2-13a
I can use drawing techniques, manually or electronically, to
represent objects or ideas, enhancing them using effects such
as light, shadow and textures.
TCH 2-15a
Throughout my learning, I experiment with the use of colour
to develop an awareness of the effects and impacts it can
have.
TCH 2-15b
6 Feedback Form (please photocopy and return)
Please fill in this form to let us know how you got on using the box
and send back to:
Fascinating Mummies Resource
Learning and Programmes
National Museums Scotland
Chambers Street
Edinburgh
EH1 1JF
0131 247 4041
[email protected]
It is important that we receive a completed form from each group
which uses this resource in order to track its condition and record user
numbers. Thanks!
Contact Name
Number of sessions and numbers of users.
Address of Group
Email
Telephone
What did your group enjoy most about this resource?
What did your group enjoy least?
Do you have any suggestions for improvement?
Please fill this table in before and after borrowing the box.
No.
Item
4.1
Tunic
4.2
Sandals (pair x 2)+ leather
thongs
4.3
Palette and Brushes
4.4
Papyrus sheet
4.5
Canopic jar + lid
4.6
Linen bandages
4.7
Metal hook
4.8
Natron
4.9
Small charms (x4)
4.10
Wedjat fragment
4.11
Scarabs (x2)
4.12
Faience necklace &
Faience bracelet
4.13
Bronze statuette of Osiris
(x2)
4.14
Shabtis (x3)
4.15
Stela
4.16
Clay vessel
4.17
Pieces of bread (x3)
Check at
beginning
Check at end Comment (lost / damaged etc)
CD
Cartoon Flashcards (x18)
Fun with Heiroglyphs
Signed _________________________________________ Date ______________________
Print name ______________________________________
National Museum of Scotland

Fascinating Mummies - National Museums Scotland

Transcription

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