In the thesis four coffin sets belonging to the Bab el-Gasus cache, discovered in 1891 in Deir el-Bahari, Egypt, and now belonging to the collection of the Rijksmuseum van Oudheden in Leiden, were...Show moreIn the thesis four coffin sets belonging to the Bab el-Gasus cache, discovered in 1891 in Deir el-Bahari, Egypt, and now belonging to the collection of the Rijksmuseum van Oudheden in Leiden, were discussed on the basis of the following research questions: - Which construction techniques have been used? - Which materials have been used? - Is it possible to recognize the signature of a workshop or an artist? - Do the coffins have a distinctive iconography and if so, what are the striking features? - Can we draw some preliminary conclusions of the social and economic status of the owners of the coffins? A general overview of coffin development in ancient Egypt and more specifically, of the Leiden Bab el-Gasus coffins was followed by the chaîne opératoire of the coffins, starting with the wood, used for the manufacture of these coffins. A small study of some wood samples proved all the coffins to be of the species F. sycomorus. In affirming this, however, it does not account for the observed differences of the wood, and only raises new questions for further investigation. Subsequently, the plaster, pigments, paint and varnish were discussed. Color and the attached symbolic meaning were very important in the decoration of the coffins (Taylor 2001b, 164). A study with a handheld XRF—a device whereby a sample is irradiated by low-energy X-rays—showed no specific outcome, only confirming the use of gold on the lid of F93.10.1a and the presence of orpiment in more than one of the samples. Both pigments had already been observed with the naked eye. It is difficult to draw conclusions about the workshops involved into the production of the coffins. The sets show various similarities, but at the same time give evidence to the practice of reuse. Some key elements of the iconography have been discussed according to the model of Panofsky. The decoration of the sets consisted primarily of symbols of resurrection, while other vignettes gave evidence to a new repertoire of religious images—some of which referred to a combination of several different mythological aspects (Quirke and Spencer 1992, 106). According to Cooney, this can be understood as a reaction and adaptation to the changing funerary traditions, scarce resources, and fear of theft of the funerary objects that took place during the period (Cooney 2011, 24). In chapter seven the owners of the coffins were discussed. The two chantresses, to whom set F93.10.1 and F93.10.3 are assigned, are probably not the original owners of their sets. The third coffin has been usurped three times. The fourth coffin is anonymous, but is associated in Daressy’s list (1907) with Siamun, a male mummy. Although reuse of some coffins is certain, mistakes made in antiquity and in the Nineteenth Century AD may have contributed to the mix up of coffin parts, resulting in the incorrect allocation of names to coffins, lids to different caskets and mummy-boards to other sets. The Bab el-Gasus coffins from the Leiden collection do not differ herein with the other sets of the entire Bab el-Gasus cache. In this thesis not every research question is fully answered. Further research will be needed to discover the whole story of the priests of Bab el-Gasus.Show less
