University of Pennsylvania Museum of Archaeology and Anthropology
Egypt (Sphinx) Signature Gallery at the Penn Museum
Building Transformation

The Egypt (Sphinx) Gallery is closed.

The new Ancient Egypt & Nubia Galleries will open as a part of our
Building Transformation.

Through its closing in July 2018 in preparation for new galleries, visitors to the Egypt (Sphinx) Gallery were able to view one of the finest collections of Egyptian architecture on display in the United States. Dominating this impressive gallery was the collection’s iconic centerpiece—a thirteen-ton, red granite Sphinx of Ramesses II, 19th Dynasty, circa 1293-1185 BCE. Surrounding it were the gateway, columns, doorways and windows from the best preserved royal palace ever excavated in Egypt. The palace was built for the New Kingdom pharaoh Merenptah (r. 1213-1204 BCE) at the city of Memphis in Lower Egypt. The Penn Museum is the only museum in the world to exhibit such a significant portion of an Egyptian royal palace; in its reinstallation in the new Ancient Egypt & Nubia Galleries, the palace will be on display at full height in the upper Gallery.

Gallery Highlights

Gateway to the Palace of Merenptah,
Memphis, Egypt.
Museum Object Number: E13575A

Stela of King Qa'a,
Abydos, Egypt.
Museum Object Number: E6878

Door Jamb,
Memphis, Egypt.
Museum Object Number: E17527

Learn More

Visitors to the Egypt (Sphinx) Gallery were greeted with an enormous timeline outlining the various dynasties which comprise the more than 3000 years of ancient Egyptian history. Opposite the timeline was a case dedicated to a discussion of early Egypt -- the predynastic and early dynastic periods -- when the foundations of Egyptian history, culture, language and religion were established. Along the wall in this area of the gallery was the partially restored black basalt stela of one of Egypt's earliest rulers, King Qa'a of the 1st Dynasty (who ruled approximately 2915-2890 BCE). Nearly 5000 years old, this stela supplies a rare example of the monuments erected by the earliest Egyptian kings in front of the low mud-brick structures that marked the royal burials at Abydos. The decoration consists of the serekh, a schematic representation of the niched façade of the palace, in which the king's name is inscribed. Atop the palace sits the falcon god Horus, of whom the king was believed to be a living manifestation.

In an enclosure at the east end of the gallery, conservators stabilized individual painted limestone blocks from the tomb chapel of Kaipure, a high-ranking official from Egypt’s Old Kingdom period (ca. 2415–2289 BCE). Each block was cleaned and stabilized, ready to be remounted with a modern support system. In the new Ancient Egypt & Nubia Galleries, visitors will be able to walk into the tomb chapel as it looked over 4,000 years ago.

The conservation of the Kaipure Chapel has been made possible through the generosity of John R. (“Rick”) Rockwell (W64, WG66, PAR), and through a grant from Antiquities Endowment Fund of the American Research Center in Egypt (ARCE).

The Palace of Merenptah

The other half of the gallery was dominated by architectural elements from the palace of Merenptah. Merenptah was the 13th son and eventual successor of the famous Ramses II. The palace, excavated by Clarence S. Fisher, one of the Egyptian Section's early curators, between 1915 and 1923, originally stood beside the temple of the Memphite creator god, Ptah. A water color and model of the throne room displayed nearby depicted an artist’s concept of the original appearance of the throne room. The exhibited elements of the palace provided insight into the religious, political and social beliefs of the Egyptian people. For the Egyptians, the palace served as a metaphor for the universe: the floor, decorated with floral and faunal motifs, represented the earth, while the towering columns with their floral capitals seem to grow toward the heavens. The hieroglyphic symbols on the lower portion of the columns depict the inhabitants of the earth giving praise to Merenptah, while the upper portions show the king presenting offerings to the gods. On the massive gateway at the eastern end of the gallery, the king is seen in a ritual pose expressing domination over Egypt's enemies, an image that occurs on royal monuments from the time of Egypt's first king (ca. 3100 BCE) throughout pharaonic history. The stone doorways are topped by images of the winged sun disk, and remains of the original gilding-the earliest example ever found in situ on an Egyptian building-are still visible on one of the doorways.

The palace, which housed the king during religious festivals, originally stood in the vicinity of the Memphite sanctuary of the god Ptah, the patron of this city. Merenptah’s palace was originally decorated floor to ceiling with painted, inlaid and gilded images and symbols proclaiming the power of the king and his associations with the divine. The palace of Merenptah contained not only public ceremonial rooms such as the throne room and vast columned hall, but also private areas for the king and royal family, including bedrooms and bathrooms.

Not long after the death of Merenptah, the virtually intact palace complex suffered a great fire, and columns, doorways, and other well-preserved stone architectural elements were buried in a bed of ash and mud which remained undisturbed until the time of excavation.

The Sphinx of Ramesses II

Displayed along with the palace’s architectural elements was our sphinx, which also comes from the site of Memphis, though it was excavated by the Egyptian Exploration Fund, under the direction of the famous archaeologist, Sir William M. Flinders Petrie. The sphinx, a lion with a human head, represents the Egyptian king as protector of his people and conqueror of the enemies of Egypt. Penn Museum’s sphinx, the largest in the western hemisphere, weighs approximately thirteen tons. It is carved of red granite, which originated at a quarry in Aswan at Egypt’s southern border. In an incredible feat of ancient engineering and transport, this single massive block of stone was shipped on the Nile River from Aswan to the Ptah Temple at Memphis, 600 miles north. During much of its post-pharaonic history, this statue was buried up to its shoulders; only the exposed head was attacked by windblown sand, which eroded the facial features and the royal false beard. The inscriptions on the chest and around the base give the five names of Ramesses II. His son and successor, Merenptah, added his own cartouches to the shoulders of the sphinx after his father’s death. Learn more about the Sphinx in The Sphinx That Traveled to Philadelphia: The Story of the Colossal Sphinx in the Penn Museum.

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