QUEEN OF DENIAL Chapter Five

 

I call it the $390 million lunch. It was held alfresco on the banks of the Nile, late morning, Monday, 20 January, 1913. The host of this cannibal's soiree was the "tactless and brusque” archeologist Ludwig Borchardt (above), 50 year old special attache of the German Embassy in Cairo and director of the German Oriental Society, which had just finished its sixth season of excavations of the abandoned capital city of Akanaten.  

He looked a bit like a doofis, but Borchardt (above) had spent two years cataloging the Egyptian Museum, and was the first to realize the Great Pyramids of Giza were not merely tombs, but a necropolis complex.  He had even studied the best forgers in the Cairo market.  No one knew ancient Egypt better than Ludwig Borchardt, and he was hungry for more. 

His main course this day was Gustave Lefebvre (above),  a 33 year old Frenchman fluent in classical Greek, who had studied in Athens, was an expert in Ancient Greek and Egyptian literature and had been working in Egypt since 1902. Lefebvre was no slouch. Nevertheless, Borchardt was about to him eat him for lunch.

The meal began with a feast, the best that could be supplied to distinguished Europeans in the age of imperialism, complete with copious quantities of good French wine.  And after the calf had been fatted, Bourchardt led his victim first into the hot office tent to read the carefully inventoried list of finds, and then into the larger darker tent where the finds were laid out in open boxes, as dictated under the Egyptian “Partage” law.  

For 30 years every foreign expedition had been required to divide its finds "à moitié exacte" – into two financially equal shares - from which the Egyptian Museum would take their choice. In 1912 the law was strengthened to also allow the Museum to retain any particular item from the expedition's share. It was a first attempt to stem the wholesale European theft of Egyptian heritage, which had been going on for over three hundred years.

Except the new law said the division was supposed to be held at the museum on Wasim Hasan street in downtown Cairo, not in the field.  And there were no Egyptians in authority at the Egyptian Museum, -  there had never been.  No Egyptians were qualified.  Since the French invaded in 1798, and the British replaced them in the 1882, Egyptian history had been yet another resource to be exploited by the patriarchal European colonialist. Their excuse was they meant well.

But even with the best of intentions, the most valuable bits and pieces of Egyptian history ended up being owned by the Germans, the English, the French and the Italians. If they could have boxed up the pyramids brick by brick and shipped them home, they would have. What was about to happen here at Arkanaten would be a good example.

Just after lunch, back on 6 December, 1912,  Ludwig Borchardt received a note from Ahmed al-Sabussi, one of his Egyptian foremen, informing him that a “flesh-colored neck with red bands painted into it” had been uncovered at a building then identified as P47.2, room 19. Later it would be determined to have been the studio of Thutmose, when an ivory horse blinker was found in a courtyard rubbish pit inscribed with his name and his occupation - “sculptor”. 

Ludwig (above), sensing something, important, raced to the site and was presented with the now completely uncovered bust. The instant he looked at it, Borchardt knew it was Nefertiti because of her flat topped crown, and he knew it was extraordinary. He wrote in his diary, “You cannot describe it with words. You must see it....Colors as if just applied. Work is outstanding.” They even took the time to take photographs.

Borchardt noted that the bust was missing its left eye, and offered a reward of £5 if it could be found. (It would not be) Then, because it was getting dark, he ordered Professor Herman Ranke (above, left) to guard it overnight.  Ranke later boasted, that night he slept next to the beautiful Nefertiti. In the morning Borchardt had the queen moved to his own tent, and he kept her there, out of sight, until Gustave Lefebvre arrived in January to oversee the division of spoils – er, artifacts.

In the office tent Lefebvre noted that atop the left hand column of the inventory were listed ten stone artifacts, including a rare limestone colored “folding alter” a sort of  TV tray (above),  a duplicate of one  already the prize of a Berlin museum. Midway down the right hand column of 25 plaster busts, was listed “a colored gypsum bust of a princess of the royal family”. In fact it was Nefertiti. In addition, the Frenchman was shown a photograph of each artifact, although Bruno Guterbock, secretary of the Society, who was present, admitted the photo of Nefertiti was “not exactly the most advantageous.” Borchardt himself later confessed the picture was composed so as hide her beauty, but also“ to refute, if necessary, any later talk...about concealment.”  The slight of hand, worked. The affable Lefebvre accepted the Germans had divided the finds into “approximate equivalency”. In fact, it seemed more than fair. The Egyptians got all the stone artifacts while the Germans were keeping only the cheaper plaster ones.

Then they went into the larger, darker storage tent, where all the boxes were sitting, open, available for inspection. Guterbock was now very nervous. He had warned Borchardt about his “"obfuscation of the material.” The box containing Nefertiti was in a back row, open as all the crates were, her blue crown hidden beneath a black wig. But if Lefebvre should bother to lift the two and a half foot tall statue he would know immediately it was far too heavy to be made of plaster. Borchardt assured his secretary that if caught he would simply say it was all a mistake. But, as the German had anticipated, after a “superficial examination” of the artifacts, Lefebvre approved of the German division of the spoils, thanked his host, and headed back to Cairo.  If the lady was a fake, Borchardt was going to a lot of trouble to get her out of Egypt in secret,

Within hours the lady began a 2,000 mile journey to Berlin, Germany. There she was presented to the man who had paid for her excavation, the cotton importer and clothing exporter, Henri James Simon (above). He was the sixth richest man in Germany, a self described Prussian Jew, known as the only collector who brought more objects out of Egypt than Napoleon. And he donated them all to German museums. However, the bust of Nefertiti was so beautiful that Simon held onto her for a year, in part at the urging of Borchardt.  Even after the rest of the expedition's hoard went on public display in the Berlin Museum in 1914, the lady was kept hidden.  At the end of June that year the Archduke Franz Joseph Ferdinand of Austria and his wife were gunned down in Sarajevo, Serbia. Within a month all of Europe was sucked into war, and for four years archeology became an unaffordable luxury.

The war ruined Simon.. The British blockade cut him off from his cotton and his customers. In 1917 he donated everything he still held to the Berlin Museum.  And in 1924 “she who comes in beauty” went on public display for the first time, even though Borchardt strongly advised against it. The queen of the Nile was an instant hit, producing headlines around the world, and long lines to gaze upon her face. The Europeans running the Egyptian Museum were offended and demanded the lady back. When it was clear there was no legal option, they canceled all German Egyptian digs in 1925. They later relented on that, but they never stopped asking that Nefertiti be returned.

For a long time there had been doubts about the authenticity of the limestone folding table top or altar which Borchardt had used to entice and distract Gustave Lefebvre. The hieroglyphic for truth (Maat) was misspelled in four separate places on the panel, and in the carvings Akhenaten is shown as left-handed, unlike every other depiction of him (above). And then in 2008 Italian scientists examined the the panel under ultraviolet light, and apparently what had looked like a patina of 3,000 years of weathering was merely a darker base color of paint. Even though the actual paper was never released for peer review, respected Egyptologist Rudolf Krauss, a curator at the Berlin Museum from 1982 to 2007, declared publicly that the altar was a fake perpetrated by Borchardt.  Fellow Berlin curator, Dietrich Wildung, called the altar rubbish, and Christian Loeben, director of the Egyptian collection at the August Kestner Museum in Hanover, Germany called it an absolute forgery. But without the full paper, detailing methodology and results, it is impossible to speak with certainty.

If Borchardt was enough of a scoundrel to have faked the altar, can we trust he did not also fake the bust of Queen Nefertiti? The insurance companies have decided to avoid difficult questions like that, and merely set a price on the head of a Queen of the Nile. That figure is now at $390 million.

- 30 - 

QUEEN OF DENIAL Chapter Three

 

I would like to met Thutmose, the sculptor. Without him we would never have known what a lovely woman queen Neefertiti was.  His true genius as an artist would be forgotten for 4,000 years, but like Michelangelo, even during his own lifetime he was known as a great artist, entrusted with the public image of the two most important politicians in his world, the Pharaoh Akhenaten and his Great Royal Wife. But more than that, like Leonardo da Vinci he was also an intimate witness to a major revolution in technology that literally built the world we live in.

With few hardwood trees, humans in the Nile Delta first built their homes with mud - malleable mud - sometimes formed into bricks, dried solid by the sun. But each adobe brick swelled and contracted separately with the daily temperature swings, and thus larger structures tended to separate and crack. Stone, the other building material available in Egypt, would last forever, but was hard to work with without metals, and if the joint where one stone met another was not a perfect, the entire structure was unstable. And the fit was never perfect. The solution was a combination of the two materials; a malleable stone. In the building trade this is called mortar.

In the Old Kingdom, a thousand years before the birth of Nefertiti, mortar was not used to bind stones together, but merely provided a level surface for their meeting. The fingerprints of ancient Egyptians were recorded as they pushed mortar and mud into nooks and crannies, leveling the joints between the great sandstone blocks of the Pyramids of Giza. But over the next centuries mortar became the subject of a great deal of study, which is when the ancient Egyptians discovered Gypsum.

It was lying about all over Egypt. Its what you get when you dry up an ocean, and other then the bleaching skeletons of ancient whales, large deposits of gypsum are the strongest evidence that the Sahara desert was once an ocean basin. To a modern chemist it is calcium sulfate, and is the primary ingredient in dry wall. Deposits of gypsum so aided the creation of the city of Paris, that the formula used there gave rise to the ubiquitous phrase “Plaster of Paris”, and it can even be used as a fertilizer.

The ancient Egyptians were unaware of most of this, but they did know the material was soft, gritty and eager to dissolve in water. And when blended in water with limestone or chalk (calcium carbonate), it produced the sought after malleable stone. During the middle of the 18th dynasty (1400 – 1300 B.C.E.) the use of gypsum mortars became standard throughout Egypt. Now houses and smaller temples could be built of standardized mud blocks, joined by and coated with a binding agent of similar properties, so the entire structure expanded and contracted as one. It made the construction of the new city of Aketaten possible. And with a few modifications to the formula, it made Thutmose a better artist.

Perhaps someday a new study of Egyptology will open a tomb and find the name Thutmose on a painted mural, with his mummy resting securely beneath. But I doubt it. I fear it far more likely that we will only know him by the few examples of his works that survived in his workshop on the southeast corner of a slum lined street in the southern section of Aketaten. What if the only evidence we had of Leonardo Di Vinci was the Mona Lisa and his crumbling masterpiece, “The Last Supper”? What would we think of him if we did not have his notebooks on anatomy, or his drawings of a flying machine? That is where we are in our appreciation of the world's first identifiable great artistic genius, Thutmose.

He could not begin  with a plaster mask, poured directly on the subject's face. That was an indignity suffered by Hollywood actors today, but was not possible here. Instead  Thutmose probably made cast of a common woman who resembled the Queen.  Once the plaster cast had been created, it was used as a guide for carving limestone busts. Nefertiti's bust was 19 inches tall and weighed 44 pounds, or probably almost half of what the Queen's head weighed in life. Several busts of members of the court have survived, and provide an opportunity for living humans to look half way back to the invention of agriculture, directly into the real face of their ancestors. What returns your gaze is a human, very much like people you know.

The limestone busts were a major technical achievement, but it was now that Thutmose the artist stepped up, as he “worked from life”, applying plaster to the bust, to perfectly match the person sitting before him. In the case of Queen Nefertiti, Thutmose captured “laugh lines” around the corners of her mouth and cheeks, a bump on her nose, bags under her eyes and wrinkles beginning on her neck. He even flattened her cheek bones a little, indicating perhaps a slight change in weight between the casting, and the carving of the stone. This was a great beauty in her middle age, the mother of six girls, with gravity taking its toll, as it does to all of us. And when the plaster additions satisfied the artist, Thutmose then added yet another layer of stucco, smoothing the lines, straightening the nose, perhaps to please his model. She was, after all, the Queen, and vanity is a very human trait, and unlimited vanity a royal one.

And then he painted the face to life, using black quartz held in place with beeswax for the iris of her one eye. For the blue of her jewels he used ground glass with copper oxide. For the yellow bands in her crown he used arsenic sulfide (the mineral orpiment), and for the green crown of Egypt, powdered glass and cooper and iron oxide. The black eyeliner was coal and beeswax, with red chalk for the lips. Her rich skin tone was recreated by adding red chalk to lime spar, also known as our old friend mortar.

The assumption is that the bust which survives today in a Berlin museum, was created as a guide for apprentice artists to produce the many copies that would have sat in the offices of bureaucrats and in temples from the Nile Delta to the southern reaches of Kush, beyond the cataracts of the Nile. This was not the image of a queen on a coin, but the real face of a real woman, who you would recognize if you saw her on the street or sat next to you in the theatre. And this is the first time in human history that such a face was created and has survived for 4,300 years, half way back to the birth of agriculture.

Gaze into her face. This was the woman whom the Pharaoh declared to be his co-ruler in the 12th year of his reign, equal in power with the king himself. No King that we know of had ever named his wife as co-ruler. Now her word was law, just as his was. A hundred years previously the widow Hatsheput had successfully ruled for 22 years as Pharaoh, establishing the wealth that ensured the survival of the 18th dynasty. But she had first been regent for her young nephew, before taking power herself. Nefertiti had no such justification. Why would Akhenaten promote her to power? He must have trusted her with his life, and more, with his revolution.

By 1338 B.C.E, it must have been clear to Akhentaten that his revolution had failed. The new faith had not spread beyond his new capital. Worse, his orders were being ignored, within and without the empire. His border with the Hittites, who were centered in modern day Turkey, was crumbling. What could have cause him to share his power at such a crucial moment? There are hints and rumors that the King, the Pharaoh, the beloved of the sun god Aten, had gone blind.

                              - 30 -

QUEEN OF DENIAL Chapter Two

 

I know just what the Pharaoh was looking for – a spot where the sandstone cliffs closed in to within half a mile of the river, and where the once-in-a-century flash floods had sliced a V-shaped notch in the canyon rim, carving a dry canyon or wadi opening toward the river. 

Perhaps the King already had such a location in mind, or perhaps Bek, his Chief of Works, knew just the spot where every morning the sun-god Aten would first dramatically peek into the life giving valley of the Nile. The spot they chose was 100 miles south of the Old Kingdom capital of Memphis, and 150 miles north of the New Kingdom capital of Thebes. Here, almost equal distance between the two historical power centers of Egypt, Amenhotep IV decided to begin his revolution.

The Pharaoh was able to build his new city of Aketaten almost at will because of a recent technological import, the shaduf (above). Wikipedia explains this was “an upright (tripod) frame on which is suspended a long pole... At the long end of this pole hangs a bucket, skin bag, or bitumen-coated reed basket. The short end carries a weight...When correctly balanced... some effort is used to pull an empty bucket down to the water, but only the same effort is needed to lift a full bucket...a shaduf can raise over 2,500 liters (of water) per day.” With this relative new tool, irrigation ditches and fields to grow enough coarse wheat, beans and lentils to feed a city could be established anywhere along the Nile.

But the King could have no secrets from his Grand Vizier, who was also the High Priest of Amun-Ra. And it was that priest,  Huy, through his bureaucrats up and down the river, who assisted in planning and assembling for this assault upon the god Amun Ra. Only the power of the army would have kept Huy from striking back in defense of his god and his own power. Still, throughout 1347 and 1346 B.C.E. , as preparations continued, Thebes must have been a very tense place.

On  13 October of 1345 B.C.E., the fifth year of the Pharaoh’s reign, at the beginning of the cool winter months, they dedicated the start of construction of Aketaten, the "Horizon of the Aten". 

To the east of the 8 mile long construction site a walled village had been prepared for the artisans, foremen and skilled workers - some 64 simple mud brick row houses in a neat rectangle, with a guard house at the only exit. With 5 – 10 men per house, this would have contained over 600 workers. In addition each region would have paid part of their yearly taxes with unskilled workers, who would sleep and eat in tents or in the open.

First to be built was the Chapel of the Great Temple to Aten - the rest of the temple would come in time.  At the same time the royal palace and estates were started, barracks for soldiers and military headquarters, all to the north of the new temple.  

A ditch separated this section from the central city, with large houses for court officials and priests of Aten, each with their own grain storehouses, and, of course, more temples to Aten.  Here, as well, were homes for the clerks and head servants, and the workshop of the highest ranking member of the division of Works who moved to Aketaten, such as Bek's assistant, Thutmose, the sculpture.  

As you moved southward through the city along the “Royal Road”, the homes got smaller, all white washed mud brick and built quickly. The western edge of the city was the High Priest Street, ending in the large temple granaries among the slums and workers' apartments of the southern section.

Carved into the crowding cliffs were to be the tombs of the priests and functionaries who had converted to the new faith.  

And up the canyon leading toward that V-shaped notch in the cliff, in what became the royal wadi, was to be carved the magnificent tomb of Nefertiti and her King, Amenhotep IV.  It was at the dedication and ground breaking ceremony that the King took the next step in his revolution.  

He publicly changed his name.  The Pharaoh decreed that henceforth he would be known as Akhenaten, “The Spirit of Aten”.  It was a declaration of war between the power of the King and his god Aten, and the power of Huy and his god Amun Ra.

“His Majesty mounted a great chariot of electrum, like the Aten when He rises on the horizon and fills the land with His love, and took a goodly road to Aketaten, the place of origin (where Aten's light first fell on the Nile each morning), which (the Aten) had created for Himself that he might be happy therein. It was His son Akhenaten (the Pharaoh), who founded it for Him...Heaven was joyful, the earth was glad (and) every heart was filled with delight when they beheld him.”

His new city had no walls, as if the King were defying Huy to move against him. But Huy could afford to be patient. The strength of Amun Ra (above) did not spring merely from the wealth of its most powerful acolytes such as Huy, but also from its appeal to the masses. They trusted the god “who hears the prayer, who comes at the cry of the poor and distressed..”  Even when he didn't.  Most Egyptians confessed their sins to the merciful and forgiving Lord of Thebes, Amun Ra. “Though it may be that the servant is normal in doing wrong, yet the Lord is normal in being merciful. The Lord of Thebes does not spend an entire day angry...As the Ka (soul) endures, thou will be merciful” And Huy knew the power of this simple idea, that the world was not created merely to please the kings and queens, but that they were created to serve the world. Amun Ra was the faith of the people. Aten was the faith of the King. And they both were moves toward monotheism.

While his new capital was being prepared, Akhenaten, who had been Amenhotep IV, returned to Thebes and step by step pushed his revolution. All donations to Amun Ra were temporarily diverted to the priesthood of Aten, to support construction of Aketaten . And over time that would become permanent. In 1343 B.C.E. the Pharaoh left Thebes for the last time, taking his dear wife, Nefertiti, his harem, his advisers and most of the government to his new city. None were allowed follow him to Aketaten, unless they had publicly renounced Amun Ra and the other old religions, and sacrificed to Aten. This meant that none could appeal their case directly to the king unless they had first converted. That a small statue of Osiris found within the site of Aketaten, shows that for many, this conversion was a matter of convenience only.

Next, the Pharaoh decreed that all other faiths were apostate, and illegal. He ordered the closure of all temples to Osiris, Isis, Ptah, Mut and Amun Ra. Further  he order the desecration of the images of all other Egyptian gods.  The carved name of the gods, their “ren”, was to be scratched out of the blessings and oaths inscribed in all temples and tombs. It was an act of desecration under the old religion, for without a ren the gods could not assist the deceased to rise from the dead. In effect, it damned the Pharoah's own father, and all fathers and mothers of all of Egypt to the eternal cold night. 

Some  destruction was carried out in Thebes, but the absence of resistance to this royal decree seems to indicate it was carried out in few other places in Egypt. And, since Akhenaten had sworn to never leave Aketaten (above) again, it was unlikely he would ever know of this defiance. The Pharaoh continued to issue edicts. And increasingly they were ignored. Either he was willing to be lied to, or he was unaware his self imposed isolation was depriving him of control of everything beyond the the walls of his new palace. Or he had lost his mind.

Nine years after he had ascended the twin thrones of Egypt, in 1341 B.C.E., the King's mother, Queen Tiji, arrived in Aketaten unannounced, and without conversion to Aten. She was delivering a message to the King, and he would have to listen to her. The relationship between divine kings and their mothers is always difficult for the King. It may be easy to convince strangers that you are a god, but your mother remembers how you came into the world, and it was not aboard a chariot of electrum. It was Tiji who convinced her son to cool down his revolution. But whether she told him his decrees were being ignored, or warned him the army had reached the breaking point of support is unclear. But we know that after her visit the revolution abruptly came to a halt. There would be no more changes in Egypt. And we know that Tiji did not stay in Aketaten very long.

The king did not renounce his new faith. Nor did he leave Aketaten. But he restricted himself to rides on the Royal Road that went no where except to his daily absolution in the Great Temple of Aten,. His life became centered on his beloved main wife-sister, now called Neferneferuaten-Nefertiti, “The Aten is radiant of radiance because the beautiful one has come.” And I think it was now she sat as a model for the sculptor Thutmose, as he created one of the most famous icons of art in the history of the world.

- 30 -