Pharaonic-Style Decoration in the Mømmisi at Ismant

el-Kharab: New Insights after the 1996-1997 Field Season

Olaf E. Kaper'

Introduction plaster that received painted decoration over its entire

The mammisl of the god Tutu (Tithoes) at Ismant el-
Kharab, ancient Kellis, also designated Shrine I andDl2,
has been under excavation sincè 1991.2 It consists of
two rooms built in mud brick with painted-plaster
decoration. Only the western room has so far been
investigated in part. Its large vaulted roof collapsed in
antiquity onto a layer of wind-blown sand, and it
survived in this state until excavation began. The
painted decoration has been excavated and reconstructed
in close cooperation with conservators, Michelle Berry
and Laurence Blondaux. The excavations between
1994-95 and 1996-97 uncovered part ofthe eastern half
of the room. It contained the collapsed vault shattered
into individual bricks or into groups of bricks (Plate l).
The floor level was reached along the south wall,
whereas the northern half of the room was only cleared
of its uppermost layer of vaulting bricks. As a result of
the recent clearance and reconstruction, the original
decoration of the shrine can now be presented for the
first time in a schematic form. Its details will have to be
filled in over the years to come.
This section only deals with the pharaonic-style
decoration in the shrine. The classical paintings of the
same room are studied by Helen Whitehouse.
Description
The western room (Room 1) of the mammisi is
rectangular in ground plan, measuring circa 4.80 x 12.0
m; its preserved height is circa 3.50 m. It has two doors,
one near-axial door in the east wall and one outside door
set in the middle of the north wall. The room was roofed
by a large barrel vault, in which no windows or other
kinds of openings have yet been discovered. The entire
room was plastered first with mud and then with lime
surface (Blondaux this volume).
The decoration of the mammisi was executed in two
different styles, reflecting the artistic tastes and religious
needs of the period. The dado of the room was painted
in the contemporary classical style, as was the central
band upon the vaulted ceiling. The remaining surfaces
of the room were painted in the traditional pharaonic
style of temple decoration. The equal division between
classical and pharaonic styles is unique in Egyptian
temple decoration.
The most remarkable aspect of the pharaonic-sfyle
decoration, and its most unusual feature, is the omission
of the figure of a king in the scenes. Elsewhere,
Egyptian temple decoration canbe seen as 'a monument
to the kingship that created it as much as to the deity for
whom it was created' (Quirke 1992,81). In the Kellis
mammisi the usual depictions of the pharaoh have been
omitted for reasons yet to be fully understood. The
principal consequence of this is that we are unable to
assign a definite date to the building/decorating of the
monument. At present, a provisional date has been set in
the Antonine Dynasty on the basis of internal
iconographic features only, to be detailed below. It is
hoped that the classical paintings can be ascribed a date
on independent grounds. Future excavations within the
mammisi may also yield some archaeological dating
evidence such as coins.
Description of the Iconography
The following description of the pharaonic scenes on the
walls and the vault is provisional for two reasons. First,
the excavation of the western room (Room 1) is not yet

' I thank Colin Hope for reviewing my English and for providing the photographic illustrations.
2
For earlier reports on the excavations and epigraphic work in Shrine I see Bulletin ofthe Australian Centrefor Egyptology 2
(1991), 48-9 and 59-67;3 (1992), 45-7; 4 (1993), 19-2.0; 8 (1997), 56-8; Journal of the Society for the Study of Eg,,ptian
Antiquities 19 (1989),8-10 and 15-16;O. E. Kaper 1997a;O. E. Kaper 1997b;and in O. E. Kaper 1999.
218 OlafE Kaper
,,"'"** \.
*l
,i\ .

;1t"4'g* ..9":J:t

I
I
t

Plate I Shrine I: collapsed vault in the north-eastern corner, looking north

¿J
T IV

TI

\
I
d

l
I

--Þ ¡
l ì

II
L_l
II¡
5n

Plate 2 The god Heka (magic) from the northern Figure I Schematic plan showing the numbering of
side ofthe vault, second register. haraonic - s ty I e re gis ters.
t he p
 Pharaonic-Style Decoration in the Mammisi at Ismant el-Kharab
complete. It is estimated that another two or three
seasons of excavation will be required before all of the
plaster decoration will be retrieved. Second, the actual
work of reconstmcting the painted scenes is still in
progress. The recovered fragments ofplaster have to be
pieced together before a more detailed assessment of the
original decoration can be given.
The accompanying diagram (Figure 1) renders our
current understanding of the original layout of the
decoration as it has emerged from the reconstruction
work up to 1997. The pharaonic-style paintings were
divided into registers in the following manner, numbered
from below upwards:
. west (rear) wall, registers I-IV
. east wall, registers I-IV
o south wall below the springing of the vault
¡ south side ofthe vault, registers I-III
¡ north wall below the springing of the vault
¡ north side ofthe vault, registers I-III
The contents of the various registers may be summarily
described as follows.
The West WalI
The decoration on the rear wall of the shrine (Hope et al.
l992,Plate 10) was centred on a round-topped niche, in
which originally a cult statue would have been placed.
The plaster in this niche was severely vandalized
antiquiry, but traces remain of a modelled shell motif in
the upper section. Below the niche, a cavetlo cornice
was originally affached to the wall, which extended the
floor of the niche forward another 30 cm. This cornice
was decorated in classical style with Eros-like figures
combined with a double Egyptian-style lotus flower.
Register I, left of the niche: still extant, Tutu as a
walking sphinx, approached by seven fecundity figures
bringing to him the agricultural produce of the oasis.
Right of the niche: also still extant, Neith enthroned
receiving offerings of unguents from eight male and
female deities.
Register II, left of the niche: partly extant on the wall,
Tutu followed by two deities receiving offerings of royal
symbols from three male gods. Right of the niche: two
goddesses, probably Neith and Tapsais, worshipped by
six goddesses.
Register III: uncertain; fragments of a figure of Osiris.
Register IV: uncertain.
The East Wall
Register I, left of the doorway: surviving in fragments, a
seated goddess, perhaps Neith, facing a row of (Libyan?)
captives. Right of the doorway: still partly-extant, Tutu
as â seated sphinx facing a row of Libyaícaptives.
Register II, left of the doorway: uncertain; right of the
doorway: fragments of Tutu and Tapsais standing on the
receiving end ofan otherwise lost scene.
Register III: uncertain.
2t9
Register IV: uncertain.
East Doorway: fragments only; jambs painted in
pharaonic style with small-scale scenes separated by
brief horizontal lines of inscription.
The South Wall and Vault
Wall: partly extant below the springing of the vault; two
scenes showing a total of 80 figures. On the left, Tutu,
Neith and Tapsais facing three male deities who present
them with a row of bound Libyan captives; on the right,
Tutu and Tapsais enthroned receiving offerings from a
group of37 priests.
Register I: two scenes with a total of 45 deities. On the
left, Tutu approached by 30 gods representing the days
of the lunar month; on the right, Tutu and Tapsais facing
rhe 12 gods of the hours of the night. Only the latter
scene is still partly extant on the remaining vault.
Register Il: in fragments only, two scenes with an
estimated total of 40 deities. On the left, Tutu, Neith,
Tapsais, and Isis enthroned followed by a series of four
child gods and Mut; facing them, two divine potters
seated at their wheels followed by a series of at least 19
gods. On the right, Tutu followed by Tapsais in an
iì
offering scene ofroyal crowns presented by gods.
Register III: in fragments only; on the left, a long series
of deities representing the nomes of Upper Egypt and the
in oases, and on the right Tutu and Tapsais receiving
offerings from a group of gods among whom are the I
members of the Hermopolitan Ogdoad; over the third
register, a line of large-scale hieroglyphs with the name
and titles of Tutu and ahymn to the god.
The North Wall and Vault
The wall, below the springing of the vault, still partly
extant, two separate scenes: to the right of the door a
series of Ltbyan captives facing a deity and perhaps
others. To the left of the door, a group of 27 priests
carrying offerings to Neith and Tapsais; in front of the
priests, seven goddesses of the Good New Year.
Register I survives only in fragments; several scenes
preserved. Right of the door, Neith, Tapsais and a
protective goddess facing six goddesses of the Good
New Year followed by the personifications of the 12
months of the year. Left of the door, three scenes
containing gods of the Dakhleh Oasis. Immediately on
the left of the door, the gods Amon-nakht, Khnum-Re,
Isis, and Hathor; central scene, the four sons of Horus
bringing a cloth offering to Osiris, Harsiese, Isis, and
Nephthys; scene on the left, against the rear wall of the
shrine, the gods Amon-Re, Khons, Mut, Thoth, and
Nehmetaway receiving an offering of palm ribs from the
god Heh (Kaper 1997b).
Register II, reconstructed from fragments: right of the
doorway, Tutu and Neith facing a group of mostly male
deities; the exact nature of this group remains to be
220
established, but it includes Horus and Seth of Libya
(Tþnw), and the god Heka (Plate 2). Tutu is depicted
with a triple head: human, lion and crocodile. Left of the
door, more gods venerated in the Dakhleh Oasis. The
scene adjacent to the doorway probably contained Seth
and Nephthys, whereas another scene on the left depicts
Tutu, Neith, and Tapsais followed by the gods of
Heliopolis: Atum, Khepri, Shu, Tefnut, Geb, and Nut.
The gods are approached by the Four Kas, who represent
the blessings of an ideal life: a long lifespan, offspring,
wealth and a proper burial.
Register III, surviving in fragments only, at least three
scenes. On the right, a series of divinities representing
the nomes of Lower Eglpt, parallel to the corresponding
register on the southern side; over the door, Tutu and
Neith receiving an offering of incense from the god
Iunmutef; to the left, Neith enthroned and followed by
another goddess, probably Tapsais. She is approached
by a series of gods who include the Seven Hathors, the
four Meskhenet goddesses, Ihy, and others. Over the
third register was a line of large-scale hieroglyphs
containing the names and titles of the gods of the shrine
and other religious texts.
North Doorway, fragmentary, dinall-scale, pharaonic-
style scenes. A cavetto comice over the doorway was
decorated with cartouches containing the names of Tutu
and Tapsais combined with classical-style decoration.
Inscriptions and Colours of the Scenes
The inscriptions in the scenes consist mainly of brief
legends providing the names and titles of the gods
depicted. The two long (12 m) bandeau inscriptions that
ran over the entire third register on either side of the
vault contained the names and titles of the gods of Kellis
and some hymns.
Astudy of the painters' techniques and the range of
colours they employed has been commenced; on the
pigments see Berry in this volume. It is clear that the
paintings were drawn with the help a conventional set of
grid squares or dots. A wide range of colours was
employed in the painting, in both pure and mixed
pigments. The skin colours of the gods in the paintings
will provide ample scope for analysis at a later stage of
the reconstruction. At this mornent, no obvious pattern
can be discerned governing the distribution of the
colours over the different gods and goddesses, even
though it is clear that certain rules did apply. For
instance, the falcon-headed deities such as Amon-nakht,
Seth and Harsiese have invariably been depicted with a
yellow skin. The colours black and blue have so far
been attested exclusively for the skins of male gods.
Goddesses have been depicted with either a green, red or
pink skin colour.
3
The identification as a mammisi, which I support, was first presented in B. Bruyère, Rapport sur
I 935-l 940, Cairo 1952,32-3.
Olaf E. Kaper
Interpretation
The reconstruction of the Pharaonic decoration reveals
that the building was designed as a mammisi. The
paintings on the vault include several scenes that are
indicative of the theology of this type of shrine. F.
Daumas (1958, 23) has defined the mammisi in general
as being consecrated both to a divine mother and to her
divine son, and should contain a representation of the
birth of the young god (Daumas 1975, 471). The
building should be orientated towards the east, either the
geographic or the temple's symbolic east (Daumas 1958,
123-8), because ofthe identification ofthe principal god
with the rising sun emerging from a lotus (Daumas 1958,
493). Finally, the decoration should depict the
coronation of the divine child who is declared king:'Ce
qui distingue avant tout les mammisis, c'est qu'ils sont
consacrés à la théogamie, à la naissance divine et à
I'intronisation royale de I'enfant' (Daumas 1958, 52).
At Ismant el-Kharab, the location of the mammisi
within the temple enclosure is on a parallel axis with the
Main Temple. This is not an exceptional arrangement,
as it is also found in the cases of Íhe mammisi of Deir el-
Medina, which is dated to the reign of Ptolerny IX Soter
II (Daumas 1958, 434), the mammisi of Kalabsha from
the end of the Ptolemaic period (Daumas 1958, I I1¿2),
the Ptolemaic mammisi at Philae (Junker-V/inter 1965)
and the newly-discovered mammisl at Shenhur dated to
the Roman period (Quaegebeur et al. 1994,207). The
orientation of the Kellis mammisi conforms with the
general eastward opening of such buildings towards the
rising sun. It was dedicated to both Tutu and Neith.
This is clear from the decoration on the rear wall of the
chapel, in which Tutu is assigned the right (southern)
half, and Neith the left (northern) half. Neith and Tutu
are mother and son, as is well known from many textual
references (Quaegebeur 1986, 602). They are depicted
together in several scenes in the mammisi: for instance,
they are the focus of the def,ile of priests upon the
southern wall.
The decoration of Shrine I did not include a scene
depicting the birth of Tutu. In this, Daumas' definition
of Íhe mamm¿sl does not apply; he stated that the birth
scene is ' tout à fait capiÍale' (Daumas 1977 , 47 l), but at
the same time he used the presence of this scene as one
of his initial criteria in selecting buildings for his corpus.
Subsequently, he narrowed his definition of the mammisi
to include only this initial corpus of buildings (Daumas
1958, 43-4). It is now clear, however, that other
examples should be included that do not contain a birth
scene, such as those at Deir el-Medina (Goyon 1989)3
and Ismant el-Kharab. A more detailed discussion of
this issue will be presented al alater date.
les fouilles de Deir el-Médina
 Pharaonic-Stvle Decoration in the Mammisi at Ismant el-Kharab 221

The southem half of the vault of the westem room of the
Kellis mamm¿si carried a depiction of a god, probably
Khnum, fashioning an egg on a potter's wheel. This scene
is indicative of the function of the shrine as a mammisi,
even though the scene may not be taken as conclusive in
this respect.a Behind this divine potter appears a second
potter whom we may provisionally identify as Ptah,s at
least until the name of this god has been found.
The identity of the shrine is established most
convincingly when its decoration is compared to the
Edfu. The
decoration of the sancfuary of the mammisi at
third register of the northem wall of this mammisi
(Chassinat 1939, Plate 15) may be profiøbly compared
with the third register upon the northem side of the vault at
Ismant el-Kharab; each carry depictions of the Seven
Hathors in combination with the four Meskhenet goddesses
and lhy, standing opposite the principal goddess of the
shrine. The second register of the southem wall at Edfu
(Chassinat 1939, Plate 13) corresponds to the second
register on the southem side of the vault at Ismant el-
Kharab; both depict the three main deities of the temple
facing the potter's wheel. The fwo sanctuaries differ
considerably in other respects, but these coincidences are
significant in that they demonstrate the similar function of
the two rooms as expressed in the decoration.
The first register on the southern side of the vault
carried a representation of the twelve hours of the night.
This theme has parallels in temple decoration only in the
mammisi of Edfu6 and the Roman one at Dendera
(Daumas 1959, 203-6). The scene depicts an ancient
royal ritual aimed at ensuring protection for the king in
his palace, which has been preserved in P.Boulaq VII.7
Later, this royal ritual was adapted to suit the rituals
carried out in the mammisi for the young god. It came to
express the cyclic rejuvenation of the god, which is the
central theme and the purpose of the rituals performed in
the mammisi. The same theme of cyclic renewal is
expressed in Kellis by the depictions of the days of the
lunar month (south vault, register I) and the months of
the year (north vault, register I). The scenes with the
priests on the walls below the springing of the vault are
probably linked to the related concept ofthe changing of
the year (Kaper 1991a, chapter 4).
On the southern side of the vault at Kellis, a number
of male deities were depicted offering a series of royal
crowns to Tutu. The offering of crowns forms part of
the rituals of the mamm¿sl carried out in the month of
Pachons, according to the calendar in the Temple of
Esna (Daumas 1958, 249-52); probably the same rifuals
and dates applied in Edfu (Daumas 1958,264-65).
The bandeau inscription above the third register on
the southem side of the vault contains a hymn to Tutu,
which describes the god as a ruler and solar deity in
phrases that combine all the elements characteristic of
the theology oÎ Lhe mammisi:
Praise to you, nsw-King,bity-Kingof Kings, the
King of lJpper and Lower Egypt, continually and for
ever, Tutu [...], the King [...], everyone [rejoices] upon
seeing him when (he) appears
The royal person of the god is here equated with the
rejuvenating sun god appearing from the lotus in
unambiguous terms.
Dating and the Later History of the Shrine
The decoration in the mammisi cannot as yet be dated as
its inscriptions provide no historical information
whatsoever. Our provisional dating of the building to
the Antonine Dynasty is based, therefore, only on the
archaeological context, which at present has yielded no
evidence predating the reign of Nero (Hope 1998, 810;
Bagnall et al. this volume) and on iconographic criteria.
The large-scale combination of classical painting with
traditional pharaonic-style painting is thus far only
known from tomb decoration. The tombs in question,
especially those in the provincial cemeteries of Tuna el-
Gebel and Akhmim, are generally dated to the second
century CE (Willeitner 1998, 3 18-20).8
Even though there is no parallel for a temple
decorated solely in paint, it cannot reasonably be
supposed that its iconographic details would have been
different had they been executed in relief. Painting and
relief work have always been complements of each other
in Egyptian arL. They represent a technical distinction
and never a distinction in style. For this reason, the
details of the paintings' iconography may be compared

a
The Kamak hypostyle hall has a scene showing Khnum modelling the divine child on a wheel in front of Mut-Bastet (?); H. H.
Nelson, W. J. Mumane, The Great Hypos4tle Hall at Karnak, Volume l, Part l: The Wall Reliefs, Chicago 1981, Plate 66 (scene B
106), whereas there is no indication that mammisïtype rituals were ever carried out in this hall.
5
On the basis of parallel depictions of Ptah at the wheel inside the Roman mammisi at Dendera and in the temple of Hibis, see
Daumas 1958,4134.
u
Upon the columns of the peristyle colonnade, Chassinat 1g3g, 112.7-113.6. These reliefs we¡e first associated with P.Boulaq
VII on the basis of a passage from the third hour by S. Schott, Bücher und Bibliotheken im Alten Àgypten: Verzeichnis der Buch-
und Spruchtitel und der Termini technici, Wiesbaden, 1991, 51 (81).
7
Cairo Museum Journal d'Entrée 31080, termed 'Recueil d'incantations pour le salut du roi pendant les douze heures de la
nuit' , in W. Golénischeff, Papyrus Hiëratiques, Cairo 1927, ll4.
8
A comparable mixture of styles is also encountered in the tombs at Alexandria in this period, see M. S. Venit, The Tomb from
Tigrane Pasha Street and the Iconography of Death in Roman Alexandria, American Journal of Archaeolog,t 101 , 1997 , 719, 722 (l
owe this reference to Helen Whitehouse).
222 Olaf E. Kaper
to the reliefs found in the other temples and perhaps
conclusions can emerge as to their likely date.
Unforhrnately, the iconography of the paintings is so
intrinsically traditional thaf many details can be shown to
have been utilized before in reliefs of Ptolemaic date.
For instance, the bird that is depicted in the hands ofthe
naked, youthful gods in the mammisi is a subject that in
itself can be traced back to the Old Kingdom, but in the
hands of deities it already occurs, for example, at Philae
in the Ptolemaic Period (Junker and Winter 1965, Plates
101, 103 and 106). Other elements that deserve a more
detailed study are the dress-patterns ofthe goddesses, for
instance, for some of which no parallel has yet been
found. A more fnÌitful comparison, however, can be
made on the basis of the rare series of elaborate crowns
worn by the Seven Hathors. One of these consists of the
top of a sistrum with the face of Hathor flanked by two
cobras (Kaper 1999,"70, Figure 2). This crown may be
compared with a similar depiction of crowns of the
Seven Hathors in the Roman mammisi at Dendera
(Daumas 1959, Plate 92, bottom lett; without cobras,
Plate 92 bis). The similar context of the two crowns
makes the comparison valid, and it gives weight to the
date of the Dendera relief in the reign of Trajan.
In the lower registers of the shrine's decoration, the
pharaonic-style painting had been mutilated before the
abandonment of the site. This happened quite randomly
and without extreme fervour, as is evidenced by the
virtually undamaged state of the figures in the upper
registers of the vault. For some unknown reason, the
north-eastern comer of the shrine suffered markedly less
damage than the other parts. Most probably the
vandalism is to be dated to the period of reuse of the
shrine in the late fourth century CE, when the western
room of the mammisi was used to stable animals. Apart
from extensive stable deposits found during the
excavations on the floor of the shrine, this reuse is also
known from a dipinto of five lines written in Sahidic
Coptic which was left by two goose-herds (Bowen er a/.
1993, 2O). A series of mainly pictorial dipinti on the
northem wall is also likely to date from this period.
The Importance of the Find and Future Plans
The mammisl at Ismant el-Kharab is one of the latest to
be erected in Egypt. Several rare elements in its
decoration make it an important monument for our
understanding of the development of the pagan religion
e
The depiction of the Four Kas is rare, but they rnay also be found in the temples of Dendera (E. Chassinat, Le Temple de
Dendara, Volume IV, Cairo, i950, Plate 307,312), Opet (C. de Wit, Les InscriptÌons du Temple d'Opet à Karnak, Volume 1,
Brussels 1958,92), and El-Qal'a (L. Pantalacci and C. Traunecker, Le Temple d'El-Qal'a, Volume II, Cairo, 1998, scenes 176-77).
in Egypt as a whole, and in the Dakhleh Oasis in
particular. It has already much enriched our knowledge
of the iconography and theology surrounding the god
Tutu. A monograph in preparation by the present author
will integrate the material from Dakhleh into a full
corpus of depictions and attestations of the god from the
rest of the country. The decoration of the mammisi has
also assisted in reconstructing the religious landscape of
the Dakhleh Oasis (Kaper and Worp 1995, 107-8; Kaper
1997a andb).
One of the principal characteristics of the pharaonic-
style paintings in the shrine is their level of sophistication.
The iconography is elaborate, providing many details not
known from elsewhere. For instance, the depictions of the
days of the month, the figures of the Four Kas,e and the
Seven Hathors are more elaborate than in parallel
depictions elsewhere. The deities are depicted with
intricate crowns and their attributes are rendered with
more detail than is known from elsewhere.
The scenes on the northem and southern walls below
the springing of the vault should also be mentioned
separately in this respect. They present a new topic in
Eglptian temple decoration, which has not been
encountered in other temples. They depict two separate
offering rituals, in which the entire set of temple
equipment that was used for the daily ritual in the Main
Temple and in the West Temple at Kellis is presented.
These offerings appear to have taken place in connection
with the ritual celebrations of the New Year (Kaper 1997e,
chapfer 4).
It is estimated that the excavations in the western
room of fhe mammisi will require yet another two
seasons at least. Reconstruction of the painted plaster
fragments will then continue for as long as is necessary.
The fragmenfary paintings will have to be reassembled
and suitably stored for future reference. As this is a
mud-brick building, there can be no question of
reconstructing the painted vault itself, but there will be
an attempt at reconstructing some individual scenes. The
final publication of the pharaonic-style decoration is
foreseen in the form of a full recording of the extant
paintings on the walls and the reconstructions of the
scenes on the vault- These are being prepared as line
drawings with a commentary. The current estimate of
the total number of divine figures upon the walls and the
vault stands at more than 400. No estimate can yet be
given of the amount of time required for frnishing their
reconstruction and publication.
 Pharaonic-Style Decoration in the Mammisi at Ismant el-Kharab
REFERENCES
Bagnall, R. S., K. A. Worp and J. Tait, this volume, An
Inscribed Pedestal from the Temple of Tutu, 49-5 I .
Berry, M., this volume, The Study of Pigments from Shrine I
at Ismant el-Kharab, 53-60.
Blondaux, L., this volume, Conservation of Archaeological
Wall Paintings in the Temple of Tutu, 61-3.
Bowen, G. E., C. A. Hope and O. E. Kaper, 1993 A Brief
Report on the Excàvations at Ismant el-Kharab 1992-93,
Bulletin of the Australian Centre for Egyptology 4, 17-
28.
Chassinat, 8., 1939 Mammisi d'Edfou, Cairo.
Daumas, F., 1958 Les mammisis des temples égltptiens,
Paris.
Daumas, F., 1959 Les Mammísis de Dendara,Cairo.
Daumas, F., 197'7 Geburtshaus, Lexikon der Àgyptologie Il,
462-75.
Goyon, J-C., 1989 Deir el-Medineh, Enclos sacré garant de
l'équilibre cosmique, Dossiers Hisloire et Archéologie
136, s2-9.
Hope, C. A., 1998 Objects from the Temple of Tutu, in W.
Clarysse, A. Schoors and H. Willems, eds, Egtptian
Religion: The Last Thousand Years. Studies Dedicated to
the Memory of Jan Quaegebeur,Part II, Louvain, 803-58.
Junker, H., 1958 Philae I: Der Grosse Pylon des Tempels
der Isis in Philae, Vienna.
223
Junker, H. and E. Winter 1965 Philae II: Das Geburtshaus
des Tempels der Isis in Philae, Vienna.
Kaper, O. 8., 1997a Temples and Gods in Roman Dakhleh:
Studies in the Indigenous Cults of an Egyptian Oasis,
PhD dissertation, Rijksuniversiteit Groningen.
Kaper, O. 8., 1997b in S. Quirke, ed., The Temple in Ancient
Egypt: New Discoveries and Recent Research, London
1997 ,204-15
Kaper, O. 8., 1999 Epigraphy at Ismant el-Kharab: Interim
Observations, in C. A. Hope and A. J. Mills, eds, Dakhleh
Oasis Project: Preliminary Reports on the 1992-1993
and 1 993-1 994 Field Seøsons, Oxford, 69-7 4.
Kaper, O. E. and K. A. Worp, 1995 A Bronze representing
Tapsais of Kellis Revue d'Egrptologie 46, 107-18.
Quaegebeur, J., 1986 Tithoes, Lexikon der Àgltptotogie Yl,
602-6.
Quaegebeur, J., C. Traunecker, C. Casseyas, M. Chartier-
Raymond, G. Creemers, P. Dils, and L Roovers, 1994
Chenhour 1839-1993: Etat de la question et rapport des
travaux de 1992 at de 1993, Cahiers de Ia Recherches de
I'Institut de Papyrologie et d'Epigraphique de Lille 16
t67-209.
Quirke, 5., 1992 Ancient Egtptian Religion, London.
Willeitner,J., 1998 Tombs and Burial Customs after
Alexander the Great, in R. Schulz and M. Seidel, eds,
Egtp4 the World of the Pharaohs, Cologne, 312-21.
 Dakhleh Oasis Project: Monograph 1l

Dakhleh Oasis Project:

Prelimrnary Reports on the 1994-1995
to 1998-1999 Field Seasons

Edited by Colin A. Hope and Gillian E. Bowen

with contributions by

Roger S. Bagnall, Michelle Berr¡., Laurence Blondaux, Gillian E. Bowen, Jeffrey S. Church,
Charles S. Churcher, Christine E. Coombs, Jaroslaw Dobrbwolski, Amanda Dunsmore,
Mark A. J. Eccleston, Iain Gardner, Peter Grossmarlrl, Kevin Hickson, Colin A. Hope,
Olaf E. Kaper, Carla Marchini, Mary M. A. McDonald , Caroline C. McGregor, Anthony J. Mills,
J. Eldon Molto, Ryan L. Parr, Andrew Ross, Annie Schweitzer,TatyanaN. Smekalova,
Anna Stevens, John Tait, Ursula Thanheiser, Jennifer L. Thompson, Johannes Walter,
Helen Whitehouse, Andrea L. Woodhead and Klaas A. Worp

r:l
Oxbow Books
Oxford and Oakville

Fedo¡g:uic i¡ì'åitÍiçt I
coor het Naþiie ûc¡r'çr'
têåds¡l lft'd'ç"iø¡'f