 Good morning. Today, we are going to continue our discussion of Egyptian architecture, Egyptian art, but we are going to move forward to the middle and new kingdom. And when I say that, I really mean we're just going to talk about the new kingdom because that's where the most extraordinary architectural projects come from. But before we talk about that which characterizes new kingdom architecture, let's just review some of the things we discussed last time about Egyptian form and Egyptian organizational principles and the idea of type and typology. This image, statue, this is in fact a new kingdom statue, shows us some essential ideas about formal organization. And I would just like to invite you guys to tell me what's going on. So I'm going to ask someone with their hand up. Your hand's up young man. I saw you go like this. What is characteristically Egyptian about this statue? The headdress, okay, and if you were an art historian, you would say the headdress represents such and such a moment in the history. That's looking at specific attributes of decorative program of this, but organizationally, what is so Egyptian about it? Formerly, what's so Egyptian about it? Yes, sir. It's frontal, good. It's a frontal object. What else is really Egyptian about it? Yes? Great. It's completely static. It does not represent movement. It does not imply action in the world. The guy behind her head is hand up. Right. It's kind of blocky. As I said yesterday, it looks like it's been made out of cheese or to use more elegant words to describe made out of cheese, we could say stereometric. It's a solid form or it is subtractive. We understand this is a form that has been created not through adding bits and pieces together, but simply taking a simple elemental geometrical volume and removing form. What else is so Egyptian about it? Yes, sir. Good. It's symmetrical. There's this strong axis in the center and the forms mirror around that central axis. What else is Egyptian about it? Got a bunch of vocabulary words that we've probably hit most of them. It's hieratic. I think one more word I'd like to stress and hieratic simply means more about a kind of ritual purpose, more about a formalized cipher made architectural or made that has to do with representing a figure. Then something that is, this is not what people look like. We talked about the obsession with funerary architecture in Egypt. This idea of making monuments that last for eternity, that have a lot to do with the cult of the dead, the idea that there is an afterlife and that one has to be prepared for the afterlife, one has to have a body for the afterlife, hence mummification, hence really even sculpture, and one has to have a dwelling for the afterlife, hence tomb architecture. And when we were looking at tomb architecture last time, we saw simple mastabas, these flat-roofed block-like tombs with subterranean chambers for the sarcophagus. A sarcophagus is a elaborate stone coffin. Multiple coffins are eventually nested together. And we saw the transformation in the in the steppe period of Pyramid of Zosir into a more elaborated kind of stacking of mastaba-like forms that began to suggest Pyramid and we ultimately saw Pyramids emerge. And all of all of these projects are increasingly more complex. They're increasingly requiring more and more organizational skills, the the marshaling of more and more workers, the mastery of geometry, the mastery of surveying and and all these things are are happening. And then we saw how even the pyramid had a series of transformations within that time. In Pyramids and even mastabas, we're really looking at tomb architecture as a kind of haptic form. I've just said haptic. What does haptic mean? Does anybody remember that great word? Not so many letters that you can't remember it. What does haptic mean? Yes, sir. It's like blocky. It's like massive. It's it's it's more about its material presence and its solidity. The haptic is available to the sense of touch or you look at it as a thing in itself rather than a thing in relationship across space. So these pyramids are very haptic, but but when we look at the site plan in Giza where the great pyramids are located, you begin to see that there are in fact relationships set up. Here, this is the little guy in the Mysorena or Menkaure pyramid has a causeway from a valley temple where the body of the pharaoh is prepared for entombment, a causeway leading directly to the pyramid. That's axial. There's an axial spatial relationship going on and as we move forward into the middle and the new kingdom, the notion of procession that's already present in the Old Kingdom funerary complexes really becomes the dominant theme. I think in part it has to do with landscape because if we look at Giza, which was a funerary precinct for the Old Kingdom capital in Memphis, Egypt, and look at the landscape there, it's more or less flat. So if you want to do something really exceptional in the context of a flat landscape, make a mountain. So the Old Capital of Memphis is up here by the Delta of the Nile River and one thing that happens in the Middle Kingdom is the capital moves south and stays south throughout the New Kingdom and south is moving into the territory of Old Upper Egypt to Thebes and there are a number of sites there, Karnak, Luxor, Diyal, Bahari, and so forth. The Middle Kingdom was never very stable politically, but it came to an abrupt end when some Asiatic people from the north came down called the Hyksos, about whom we know very very little. They seem to have been a shepherding people and they seem to have brought with them the chariot because up until the Hyksos invasion from around 1720 BCE, there were in fact no wheels in Egypt. And that seems surprising given how sophisticated the Egyptians were. Why didn't they have wheels? And and actually if you think about the landscape of Egypt, if you think about the the Nile as the primary conduit for circulating up and down to the various cities, well, you don't need the wheel there. Or if you think about the territory that extends on either side of the Nile, you have sandy expanses of desert and you really don't need the wheel there either. A sledge would be a much more useful way of moving material around. However, after the Hyksos invasion and throughout the New Kingdom, the Egyptians do have the wheel. When the Hyksos are finally expelled from Egypt at around 1580 BCE, you begin an incredibly powerful and glorious period of Egyptian history called the New Kingdom. But the New Kingdom was an extraordinary period. It really is the time when there was the greatest consolidation of pharaonic power and there were great expansions of territory through conquest, technological advancements and enormous funerary monuments were constructed. There were a couple of amazing pharaohs who really set themselves out as distinct individuals, hard to do when you have 3,000 years of continuous history. One was an 18th dynasty pharaoh named Amenotep. We'll talk about him out of sequence. We want to talk first about the 19th dynasty pharaoh Ramesses II because he really exemplifies what Egypt was in its glory. One reason Ramesses II was able to do so much is that he lived for over 90 years and at a time when people typically died in their 30s, if they even made it that long, to live for 90 years is amazing. And he was on the throne for over 60 years and throughout that period he was building cities, conquering territories, siren children, building temples, particularly building temples. Here's Ramesses, great-looking guy. He's called Ramesses the Great because his power and his ability to transform history was so great. Nobody built as many temples as Ramesses. Of course, nobody lived as long as Ramesses. So Ramesses had a particular advantage in that respect and his buildings were colossal in scale. And of course, the Greeks never get it right. They always make up another name. So to the Greeks, he is Ozymandias. I just wanted to give you his Greek name because there is a poem by the great English romantic poet Percy Bachele about Ozymandias. The scale of Egyptian architecture is astonishing. You go there and you really do feel something that's kind of super rational. And by super rational, I mean you can't even think about it. You're just you have a bodily reaction to how small you are and how big this architecture is. And that's helped by the fact that the sun is beating you to death because it's so hot. And luckily the columns are close together and you're getting in the shade of these columns and you're just clinging to the columns to get a little bit of the coolness that the columns have collected from the shady side. And you can't even think about it. You're so overwhelmed. And that that sense of being overwhelmed by an experience of landscape or architecture is called the sublime by 18th and 19th century estheticians. Sublime, S-U-B-L-I-M-E. And particularly romantic poets like Mr. Shelley here thought the sublime was really the thing that a poet should consider. Why should a poet be rational? You can have people who write prose do that. So Shelley is writing about Egypt. And he's writing about an experience of being in the desert and encountering this fragment, these kind of a broken statue, giant legs, a bit of a head. So here it comes. I was an English major once. Ozymandias by Percy Bethshelly. I met a traveler from an antique land who said two vast and trunkless legs of stone stand in the desert. Near them on the sand half sunk a shattered visage lies whose frown and wrinkled lip and sneer of cold command tell that its sculptor well understood those passions red which yet survive stamped on these lifeless things. The hand that mocked them and the heart that fed and on the pedestal these words appear. My name is Ozymandias, king of kings. Look on my works, ye mighty and despair. Nothing beside remains, round the decay of that colossal wreck boundless and bare, the lone and level sands stretch far away. So this is sublime. This is Shelley giving you a typical romantic response to the sublime. And often that is any kind of work of man, a cultural artifact will decay and nature will endure and nature will erode everything. And the conceit of Ozymandias to think that he's king of kings. Look on my works, ye mighty and despair is silly because the desert survives and Ozymandias is barely there buried in the sand. That was a digression. His biggest complex is in the site of Karnak, which is basically full of temples. In fact, we see here a precinct and this is the major temple of Amanre, the temple of Ramses II within a precinct. And in that precinct there are all these ancillary temples that got built up over time. A lot of it has to do with the notion that a really powerful pharaoh will have the swift and effortless journey to the afterlife. So attach to that and things will be working just fine for you. We'll come back to this site plan in a moment, but let's look at a little temple. This is the temple of Khans or Khansu, located here in a little corner of the Amanre complex. And this one's good to look at because it's so clear. The Aman temple has so much junk going on, it's hard to read the type in its clarity. But if we look at the little Khansu temple, you can kind of see how the notion of access and procession that was already established in the journey from the valley temple through the causeway is transformed in this new building type mortuary temple. And in fact the procession begins long before you ever penetrate this big gate. We have two stone needles called obelisks over here. And before we even get to the obelisks, we see an avenue lined with little sphinxes, little human-headed crouching lion fears. And behind that we see colossal statues. So there are many, many things stretching out into the desert, enforcing the notion of procession, enforcing the idea of the axis, and a gate. And the gate we have is called a pylon. I'm just going to show you how the word is spelled. Pylon. P-Y-L-O-N. And they're interesting forms because in part they are wall-like, defining the edge of a precinct, but they're also gate-like, permitting the axis to thread through. So here are some of the words we use, pylon, axis, avenue of sphinxes, and obelisks. But let's go back here and take a closer look at the plan. Because if we look at the Khansu temple, we can begin to see ideas of organization that go beyond the simple notion that there's a big axis. We see how hierarchy is established. One way hierarchy is established is axis destination. And destination would be the chamber for the tomb, the sarcophagus. But we also see a couple of other things. We see this telescoping scale. And by telescoping scale, I mean spaces gathered together and made more and more and more condensed. So we have the world out here. We have the channel of space here. We have this hall full of columns called hypostyle hall, smaller chambers that become more and more and more condensed, like a telescope. So the size of the space in plan enforces the sense that this is hierarchically more and more and more exclusive. And if you look at the section, this telescoping action is happening in two ways. It's telescoping down. The floor is stepping up. The roof is stepping down. You're getting more and more and more compressed. And if you look at the pylon, you might say, well, what is that? Why does it look like that? And many scholars suggest that this too is mimetic of a vernacular way of building. Vernacular means common to the people. You might talk about vernacular speech. Y'all might say, you ain't going to come to class no more. That would be vernacular speech. Y'all better come. But vernacular architecture is the common popular way of building. So when we were talking about this depth pyramid of Zosir up on the Nile Delta, we saw that there was a vernacular way of building that had to do with reeds and mud and kind of weaving an architecture that then got picked up in the stone articulation of the buildings. Here in Harnack, we don't have quite the same growth of river reeds. And the vernacular architecture might have been mud brick. And if you want to build a mud wall, it gets thicker toward the base and tapers more toward the top. And you begin to get that message recapitulated in the characteristic form of the pylon. And these are some of the experiences you get. Look at the columns here, the hypostyle hall. One reason the columns are so close together, I think, is the question about how can you span anything with stone. And the answer is with great, great difficulty. Stone cannot span very far, so the columns are really close together. But it's also fabulous. It's just the physical experience of being around these giant columns and getting the shade from the columns is really a kind of astonishing experience. Here's a detail of what the hypostyle hall, the space right in here, would have looked like at the Temple of Amun Ray. It's worth looking for a moment at how crazy this plan is. I mean, we get the Amun Ray Temple behaving in a fairly normative way. I'm going to go back to the big site plan. We get the Amun Ray Temple behaving in a fairly normative way. And this axis is perpendicular to the Nile River, which is way over here. And so there is that same journey along the causeway from the Funerary Barge taking you in here. Then we get certain other temples, like this one, where the pylons are going nuts. The pylons are not behaving quite so axially, as we would expect from the Egyptians. And one reason for that is a larger engagement of the site is being responded to. Here it's all about the Nile and the path. Here it's all about making a connection to another temple precinct, a pre-existing temple complex. So sometimes, and this is going to come in handy when you do your papers and you start analyzing buildings, you might look at something and you would say, this is simply crazy. I have no way of knowing why this thing is so screwy. But if you find a site plan and you find information, you might say, oh, I get it, that the local condition is compromised to make sense out of the regional condition or the larger site idea. So some of those things are happening over there. Let's look for a moment at the type of Middle and New Kingdom mortuary temple. We have some constituent parts that are conserved regardless of how much difference we have. For example, we have the notion of the threshold, the pylon, that begins to structure a procession in a hierarchical fashion. So here's a pylon, here's a pylon, here's a pylon. You can read the pylons in plan because they are these massively thick walls. You can read the pylons in plan here, pylon in plan here, pylon in plan here, pylon in plan here, not colored in quite as much as it should be. And then you get a series of hypostyle halls, hypostyle hall here, hypostyle hall here, hypostyle hall here, these halls full of columns. Constituent parts laid out in quite different ways, spatially goofy, you might even say, but nonetheless close enough to the normative type to deserve that title. And again, let's review the word type and typology, words that you'll be using again and again, a class or group of buildings, distinguished by shared formal characteristics and derived from the same historical sources. This is a Ramses III temple in Medinet, Habu, not so far away. And I think this one's really interesting because it's not quite so screwy as the big temple in Karnak, but it's more complex than the little temple of Kansu that we looked at before. We can see in the center something that looks like a really clear, really normative Egyptian mortuary temple. What makes this so clear as a mortuary temple, this dark piece in the middle, name some of the things that make you recognize it as a mortuary temple. Let's see some hands. Yes, telescoping, right. We get the telescoping of spaces from a big space to a smaller space down to the most holy of holies. Yes, procession. The whole thing is all about procession. In fact, even if we get out of the main temple into the temple precinct, the procession is authorized again and again by gate after gate. What else? Yes. The many hypostyle halls were finding the constituent parts of the type of mortuary temple. Good. What else? Pylons. We're seeing pylons. Good. So you guys are already good at this. You can recognize the type. You know what to look for. You know how to analyze it. But some of the things I find interesting about the Medinet Habu temple have to do with secondary organizing spaces. We have the axis and the procession from the main pylon to the holy of holies. We have a series of gates or pylons. We have the telescoping spaces. And here we also have a kind of concentric wrapping of spaces wrap. So things are not simply distinguished along an axis, but also from a perimeter toward a center. So all the mortuary temples we've looked at so far have been pretty straightforward. That is to say they've been on a flat terrain. But the landscape down at the upper kingdom end of the Nile is hilly. And just across the river there are big cliffs. So interestingly Queen Hatshepsut, 18th dynasty queen who ruled as Pharaoh had built for herself a temple. This is a statue of Queen Hatshepsut. She strapped on a little beard, but she retained her breasts, and everybody wore a skirt. So hard to know how much of this is her own little outfit and how much of it simply is an honorific headdress and beard wrapper signifying Pharaoh. But her mortuary temple is my favorite. And the reason it's my favorite is that it takes advantage of the cliffs on the opposite side of the river and really uses them as part of the architecture and extends the architecture into the landscape so that the scale of the architecture is augmented by the fact that it's almost seamlessly interconnected with the landscape itself. So here's the Carnac precinct that we were looking at before on the south side of the river or the east side of the river. And over here we have the temple of Hatshepsut. The axis of the Hatshepsut temple which predates the Carnac temple locks in completely. So another thing that is a kind of regional organization is trying to lock that axis together. It's kind of an interesting thing. And I think this is a nice illustration of the life-giving power of the Nile. I mean the minute you get away from the Nile, the dryness of the desert becomes the dominant form. And as you get closer and closer to the Nile, the richness of the green becomes brighter and brighter and brighter. So here's a plan of the Hatshepsut temple and this is a little perspective drawing that shows you something extraordinary about this temple and that is these different precincts that are used to organize the procession do not happen across a flat terrain but have to do with moving up into the landscape. It's kind of like a mortuary temple. Insofar as there's a threshold, there's a threshold, there's a threshold. And every time you cross a threshold, you get to a space that is increasingly dense, increasingly compact, telescoping to the holy of holies. But not only does it move up the mountain but it also moves into the mountain. So at a certain point, and that point is more or less here, you are no longer outside but you've penetrated in through this row of columns and the rock has been excavated. So Hatshepsut didn't have to build a pyramid. Hatshepsut used nature as her pyramid and simply embedded the temple within it. This little pyramid by the way is a middle kingdom tomb, a mortuary temple that would have been there and that now is no longer visible. So if you look at the plan of the Hatshepsut temple in comparison with the great temple at Karnak, you can see lots of similarities in spite of the extreme differences in terms of the the sequence and the spaces. We've got the hypostyle hall. We don't exactly have pylons but we have these thresholds that allow the pacing of the procession to be marked in an honorific architectural way. And look at that. It's so great. Look at the striations of the rock. The vertical striations of the rock seem to be clarified and made architectural in these colonnades on the Hatshepsut temple. And this is really a kind of deliberate decision that's being made here because across the river at the Aman Rei temple we have the same kind of papyrus columns and lotus columns that we saw really way back in Sakara in a Zosir complex. But here it's stripped away. It's really abstracted. And I think it's been abstracted because it's not referring to the river reeds but it's referring to the rock. Again it's mimetic of nature but it's just picking up a different piece of nature to to respond to. This is just a fabulous colored drawing illustrating the transformation of the type that we can serve things like the hypostyle hall and the chamber for the entombment and the series of thresholds but we present them in a different way. Here are some details showing you the abstracted columnar edge at the Hatshepsut temple. And here we have another column detail which is quite interesting because it almost looks Greek. It almost looks like it is a kind of Doric column. We'll look at Doric columns until you never want to see them again as we proceed through this course. But there are vertical lines here that are kind of like the fluting. You can kind of see them better here maybe. And there are little column capitals that are kind of like the Doric column capital. Of course anticipating the Doric by a long, long time. So we noticed that at the Hatshepsut temple the landscape itself was being engaged in an aggressive way to to amplify the scale of the building and to make connections to the notion of the mountain that could make meaningful the architecture that's inserted there. Here's another Ramsay's the second temple. This is farther up the Nile toward the source of the Nile, farther into Nubia, Abu Simbal. And this temple is completely rock cut. The processional spaces that we had leading up to it in the Hatshepsut temple are all interiorized. The pylon itself becomes a carving into the living rock of the cliff. Kind of great. We're not quite sure that, well we are quite sure that this lake did not reach quite up to here then. One of the big engineering projects I think in the 1960s was the building of the Aswan dam. So the territory around here has got the lake formed by the by the making of this dam. However we still have these. Some of these rock cut temples got flooded when the Aswan dam was built to the horror of everybody who likes art. Russian engineers have built them and I guess they have water and more food and it's a good thing in the end. So let's look a bit at this Abu Simbal temple. It's just a great looking plan isn't it? I can tell you my favorite thing about this plan. This is something you don't see every day when you look at architecture. If you look right down here you see feet in plan because you don't always see feet. We have this giant statue of a seated pharaoh here. Here are his feet and the convention in cutting a plan is more or less cut three feet up. Cut at about waist height. So if you cut three feet up you get little bits of leg, little bits of feet. It's really great. But notice the spaces. These are the same kinds of spaces we were seeing in the mortuary temples. We have a real transformation of the idea of hypostyle hall in that the columns are anthropomorphic. And by anthropomorphic I mean the columns are ornamented with human figures that are engaged. Anthropomorphic means shape like a person. So we have this avenue of humanoids and then we proceed through a telescoping sense of spaces deeper and deeper into the tomb itself. Fabulous. So you look at the pylon or the kind of weird entry piece carved into the rock at Abu Simbal and you look at a typologically normative pylon and you can see that the memory of this pylon which carries the memory of the mud wall is preserved and used here. And this is the hypostyle hall at Abu Simbal. Great stuff. But now let's look at Achanaten, late 18th dynasty. Really one of the most interesting figures in Egyptian history. And one reason Achanaten is so interesting is that he actually moved away from the religious beliefs that extended for thousands of years before him and even after him they were reprised immediately. Achanaten was a monotheist. He believed in one god as opposed to the polytheism of, you know, 3000 gods that other Egyptians followed. And at step before changed his name to Achanaten. Achan, the end of that word, at the end of his name, meant sun disk. Achanaten also moved his capital to Amarna. So sometimes we call the period where Achanaten and related dynasties were ruin the Amarna period. The god that he followed was the sun disk. So there was this cult of the sun disk with Achanaten. But I just want to call your attention to this portrait of Achanaten. This is a Ba relief. It's a low relief carved into the stone and this old kingdom pharaoh is a sculpture in the round. But we began this class by saying for 3000 years stylistic principles were preserved with very little variation. But wow, there's quite a lot of variation going on here, right? It almost looks like Achanaten is a specific individual rather than an idealized type. You know, every old kingdom pharaoh and most new kingdom pharaohs like Ramesses II look exactly like this. But suddenly we see not only the individualized features of a very different man, we see a certain psychological complexity in those features. And we see someone who looks as though he probably comes from Upper Egypt, from the Nubia region, the African features in his mouth and his nose and so forth. So somebody is looking closely at the world when they're carving Achanaten's portrait and not simply working within this hieratic tradition of image making. These are some more Achanaten portraits. This is not a good look for a man, by the way. He sort of looks pregnant. Notice he still has things like the honorific headdress, the honorific beard. But there is this moving away from the orthogonal toward a curvilinear and kind of lyrical sensibility of line in the portraiture from this little period called the Amarna period or the period of Achanaten. Here are some images of Achanaten. And frequently you see them with a big sun, giver of life being worshiped by all these characters. And notice again, these are not the rigid little Egyptian people that we typically see, but they almost look Art Nouveau. They almost look like something that's about the kind of pulsing life of organic form rather than the kind of cyphering of Egyptian form. This is my favorite Achanaten picture. And what's so nice about this picture, in my mind, is that it is a family portrait, the kind that you probably have at your grandma's house, right, of a family portrait. Remember Senma with baby head stuck on his cube? That was also a family portrait. You just take a baby head, you stick it on a cube. That's how people interact. That's not happening here. Look, this is Achanaten. This is his queen, Nefertiti. This is a baby. He's kissing the baby. The baby is gesturing toward its sibling. The other little baby is gesturing toward its sibling. There is this kind of interaction, a kind of human interaction, the likes of which you really don't see, wow, I don't know, until, let's say, the 1600s. This is kind of an amazing moment in Egyptian art. And again, I call your attention to the lyrical play of curvilinear form here, quite different from things we've seen elsewhere. Here's another double portrait of Achanaten and Nefertiti. And this is probably one of the most famous images of Egyptian art. We began our lectures by looking at it. There's a lot of debate about it within the last few years. People think that it might in fact be a fraud that an archaeologist in the late 19th century was just goofing around and made one and had it there by the excavation site and a nobleman saw it and said, this is magnificent. I must have it. He said it like this. This is magnificent. I must have it because he was a German man. And so this is the centerpiece of the kind of Egyptian museum in Berlin. And it's funny because it's probably a fraud. It was probably something that they just cooked up. But whoever did it had been paying attention to the style of the Amarna period with these lovely lyrical forms. Not so far from the tomb of Hatshepsut, we have the tomb of King Tutankh Amen who was probably one of the many, many children of Achanaten. And King Tut died at age 19. He accomplished nothing of significance. He was minor as far as history is concerned. But what's interesting about King Tut is that he managed to not get his tomb robbed and everybody else's tomb got robbed. So in the early 20th century a British archaeologist called Carter with Ahmed the mule driver whom we mentioned last time and a bunch of other people found the undisturbed tomb of King Tut which is an amazing thing. And with that they found all these treasures. Mr. Carter looking strong and Lord Caravan looking pretty feeble standing together near the tomb of King Tut. And it's surprising to me that they couldn't find it earlier because look here's a sign saying tomb of King Tutankh Amen. They just had to read it and they would have found it. But these are some of the things that were discovered when the tomb of King Tut was opened. This is his death mask, his golden death mask encrusted with precious stones and not this largely. Here's a chest. His body was mummified of course but encased also in three coffins. A golden coffin, a wooden coffin and a stone sarcophagus. And with him these astonishingly intricate grave goods. A golden fan, a golden pharaoh, slippers, etc. King Tut was very very minor. He lived only until he was 19 years old. In the tomb with King Tut were two female fetuses possibly his offspring. And with King Tut the 18th dynasty more or less came to an end. And that's not all that came to an end. Lord Caravan died of a mosquito bite. Nobody dies of a mosquito bite. They opened the tomb and before they could get to the body of Tut Lord Caravan was dead. And that's not all. Also Lord Caravan's dog died. And 45 people associated with the excavation of King Tut's tomb died over the course of the next 30 years. And their average age was 72. So I think that there must be a curse to the mummy's tomb. Period that follows the New Kingdom is a period where the Greeks ruled Egypt, columnar period. And what's interesting I think is how the Greeks borrowed from the Egyptians and learned from the Egyptians. And when we look at Greek art and architecture in our subsequent classes we'll see how many of the elements and how many of the themes that we've already identified in Egyptian art are carried forward. This is a temple to Horus, this big falcon, one of the gods. All the gods were reinstated the minute Akhenaten died. It's in Edphu Egypt and it was built during the Potolomeic period. If you look at the dates these are really, you know, really late dates. What one of the Potolomeic rulers was another great queen Cleopatra perhaps you've heard of her. But the temple at Edphu is exactly driven by the same desire to follow the type that the earlier temples we looked at were. And I think another interesting thing about this temple, and maybe it's because this temple is so late that people didn't actually know how to build them in an authentic way so that it was more driven by rule than by custom. But if you look at that canon, the Egyptian canon that Lepceus the 19th century archaeologist came up with that describes the lineaments of the human figure and you overlay that canon onto the temple in Edphu you begin to see a correspondence between the disposition of parts in a human figure and the disposition of parts in a funerary temple. So it's almost as if these two things are locked in together by some larger narrative argument. Here's the standard of proportions. And here is a superposition of the Lepceus canon on the Edphu temple. And that's kind of great because you get things like the heart and the burial chamber corresponding becoming the same thing. So if this is where the soul of the human being resides and this is where the soul of the human being resides it's taken care of. And even things like the pylon of the Edphu temple seem to follow the same prescription that the Lepceus canon of Egyptian art suggests. So next time we're going to be talking about the Bronze Age and particularly Bronze Age civilizations elsewhere on the Mediterranean in Crete and on the Peloponnesus peninsula in ancient Minoa and Mycenae.