Mummification Steps!

What are the 8 steps of mummification process? πŸ‡ͺπŸ‡¬πŸ‡ͺπŸ‡¬

1. Purify the body

Before the embalming process can begin, the body is washed in water from the Nile and palm wine.

2. Remove the internal organs

A small incision is made in the left side of the body and the liver, lungs, intestines and stomach are removed. They are then washed and packed in natron before being placed in canopic jars.

The heart is left in the body as it is believed to be the center of intelligence, and will be needed in the afterlife.

3. Discard the brain

A rod is inserted through the nostril into the skull and used to break apart the brain so that it can drain out of the nose.

The liquid is then thrown away as it is not thought to be useful.

4. Leave to dry

The body is stuffed and covered with natron, a type of salt, which will absorb any moisture. It is then left for 40 days to dry out.

5. Stuff the body

Once again, it is washed in water from the Nile and covered with oils to help the skin stay elastic.

The natron is scooped out and the body is then stuffed with sawdust and linen to make it look lifelike.

6. Wrap in linen

First, the head and neck are wrapped in strips of linen, then the fingers and toes.

The arms and legs are wrapped separately before being tied together. Liquid resin is used as glue.

7. Add amulets

Charms called amulets are placed in between the layers to protect the body during its journey to the afterlife.

8. Say a prayer

A priest reads spells out loud while the body is being wrapped in order to ward off evil spirits.

He will often wear a mask of Anubis – the god associated with the embalming process and the afterlife.

If you are reading these lines now, it means that you have completed the reading, Leave your impression in a comment. πŸ“–❀️πŸ‡ͺπŸ‡¬

In ancient Egypt

better than anything, the meditation on death instructs man on his destiny and prompts him to seek the means of accomplishing it. This is why the tomb or the coffin “master” or “mistress of life” and why the wise Ani invites us to think of the final ends to lead a virtuous life and prepare for death; because “Death does not surprise the wise”, or, like Ani s ‘expressed, long before La Fontaine: “There are no surprises for those who do well.” one end to the other of the valley of the Nile, one does not lose sight of the double mountain into which the necropolises sink: the thought of death hardly leaves the Egyptians during their life; but it does not darken it. With them, it encourages the epicurean to new pleasures, the sage to new virtues. Long in advance, they take care of their grave; but they decorate it with attractive subjects. They see in life something else and better than a preparation for death; but they strive to secure an image and a continuation of life in death. We can affirm that they regard life as the supreme good, but on condition that human life is completed by being perpetuated by the participation in the life of the immortal gods. Placing themselves at the antipodes of Buddhist thought, it is “second death”, it is the final disappearance, it is the annihilation, which they regard as the supreme evil and the most appalling punishment. They guarded against it by mummification and magical rites; but to increase the effectiveness of these remedies, they resorted to the guarantees of morality. Indeed, if the virtues found, on earth and during life, sanctions very appreciated in the favors of the king, for example, the esteem and the affection of the contemporaries, the stability of the fortune, the very prolongation of the life , we hoped for more. A good burial and the perpetuity of the name prolonged on earth the same order of sanctions. The protection of the gods, which we already saw exercised during life, produced all its effects beyond death. Doubtless, the spectacle of life and death provoked objections from the skeptic, not only on the solidity of human grandeur and the perpetuity of pleasures, but also on the reality of virtues, on divine providence and on the expectation of future remuneration. However, these absolute doubts, expressed in the Songs of the Harpist or by the Koufi Jackal, aroused little echo. Almost without exception, the Egyptians shared their beliefs and their hopes between the various paradises and the various blessed destinies that their ancestors and their sages promised them. However on this subject, their imagination was displayed with fruitfulness. ” extract from Introduction to the study of moral ideas in ancient Egypt, by Jules Baillet, former student of the Γ‰cole Normale SupΓ©rieure, former member of the Archaeological Mission of Cairo

Seti I Tomb

. For years after the discovery, the tomb would be identified with various rulers. But in 1828 French scholar Jean-FranΓ§ois Champollion deciphered hieroglyphics in the tomb to identify it as that of Seti I. One of the 19th dynasty’s greatest rulers, and father of Ramses II, Seti I ruled for 11 years during which he expanded Egypt’s influence south to Nubia and northeast to Syria. Archaeologists would later find the king’s mummy in the Royal Mummy Cache nearby, where it had been moved in antiquity for safekeeping.

“It’s not our least discovery to learn to love Egyptian art” (Robert de Traz)

β€œFrom now on darkness and misunderstandings reign over Pharaonic Egypt. Gutted tombs, emaciated temples, it seems open to the eyes. But everyone is making mistakes, starting with Herodotus. When, a hundred years ago , Champollion deciphered the hieroglyphs, we thought we finally had the key to this lost world. We began to translate with eagerness the texts of the stelae and the papyri. But we now see that we literally transcribe them. the meaning, the significance of metaphors perhaps escapes us. Naville points out in this regard the inconsistency of certain passages where, with the highest ideas, oddities and stupidities are mingled. Where we thought we understood, suddenly appears a hole, an intellectual impossibility Who knows if the hieroglyphics do not have a secondary meaning and if another key is not needed to open, after the first vault, a secret room where everything will be explained. We are left with art, which is a revelation. The symbols escape us, the texts may deceive us, but beauty speaks. In an unforgettable voice. What does it matter that the corpse has disappeared if the statue emerges from the grave? We don’t know what exactly these chiefs and wise men were saying, but they, anyway, here they are. As is. More decipherable than the papyri are the human face, the delicate and naked form of a woman’s body. Very Egyptian idea, by the way. Ptah, “who formed the earth”, is also the god of artists. For these believers, the statues became beings. They are returned to us, and as contemporaries: Senousret III, tense face, hollow cheeks, heavy and disdainful chin, with on his face of hard granite something sad, resolute and sensual; Thutmes III, the great conqueror, with an air of intelligence and mockery, a pointed nose, eyes flush with his head, the ensemble so cheerful, so free; Queen Nefertele, her eyes outlined, her mouth about to open; Tutankhamun, the little tuberculous Pharaoh who died very young, with attentive eyes under the regular arch of the eyebrows, and whose serenity does not question, does not complain, does not reproach anything. Learning to love Egyptian art is not our least discovery. Gradually tamed, we get used to gigantic or simplified forms, whose evocative power and superior generality satisfy us as we emerge from an age of impressionism and the picturesque. Tired of details, with what pacifying happiness we greet magnificent syntheses. A pure line, a simple relief raised in the limestone, but so precise, so flexible, and here is the very ripple of life moving. How could we not be deeply satisfied with it? So, in works that seemed surprising to us at first, we find what we would like that resembles us. ” extract from “Le expatriation oriental”, by Robert de Traz (1884-1951), Swiss novelist and essayist

Anubus fetish

This unusual Object is an Anubus fetish or Imiut Fetish, one of a pair found in the burial chamber of Tutankhamen’s tomb. According to Wikipedia:”The Imiut fetish (jmy-wt) is a religious object that has been documented throughout the history of ancient Egypt. It was a stuffed, headless animal skin, often of a feline or bull. This fetish was tied by the tail to a pole, terminating in a lotus bud and inserted into a stand. The item was present in ancient Egyptian funerary rites from at least the earliest dynasties. Although its origin and purpose is unknown, the imiut fetish dates as far back as the First Dynasty (3100-2890 BC).”