Brighton Museum & Art Gallery
Ancient Egypt
Mummy Workshop
Information for Teachers
The process of mummification was reserved for the rich and powerful ancient Egyptians.
Discover how their bodies were preserved in preparation for their journey into the afterlife.
Experience a re-enactment of the mummification process, using costumes and life size
mummy dolls.
Contents
Introduction
Aims of session
National curriculum links
Risk assessment
Group leader’s sheet
Guidelines for your visit
Pre visit and post visit activities
Dressing as an ancient Egyptian
Background information
You may also like to visit
www.heritagelearningbrighton.org.uk
heritage.learning@brighton-hove.gov.uk
03000 290903
1
Introduction
In ancient Egyptian society the rich and powerful were able to have their bodies mummified in
preparation for the afterlife.
In our mummy workshop pupils will be able to experience a re-enactment of the
mummification process, using costumes and life size mummy dolls.
They will discover:

which people in society underwent the process of mummification;

how a body was prepared for a tomb burial; and

how the deceased person obtained a place in the afterlife by proving their
worthiness to the god Anubis.
They will also learn about the important weighing of the heart ceremony.
This pack is intended to give a brief introduction to the session. The workshop supports
areas of the KS2 History, English (including Drama) and Religious Education programmes of
study.
The pack also provides general information about the museum, suggestions for planning and
preparing for a visit, and background information on some of the areas covered in the
session.
Outline of the session
The session lasts one hour. Pupils will begin the session with a whole class discussion about
what they already know about ancient Egypt and archaeology (exploring how information has
been gathered about the life and beliefs of the ancient Egyptians). This discussion will be led
by the museum teacher, who will then introduce the mummification re-enactment activity.
There are two tables, each with a mummy doll, so pupils will be split into two groups and
asked to position themselves around one of the tables. Costumes of key figures in the
process will be distributed to pupils who volunteer to dress up. As the museum teacher
explains the process of mummification, pupils will be asked to participate by performing the
tasks of different figures involved in the ceremonies.
These figures include

embalmers

priests

mourners

the god Anubis, and

the goddess Maat.
The session concludes with a whole class discussion led by the museum teacher to
summarise what pupils have learnt through taking part in the workshop.
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Aims of the session
1. Find out about the characteristic features of ancient Egypt including the ideas, beliefs and
attitudes of people in the past.
2. Use a range of sources and approaches to find out about the past, including photographs,
artefacts and through participating in drama-based activities.
3. Ask and answer questions to find out about the past.
4. Explore the role of archaeology in representing and interpreting culture and beliefs in
ancient Egypt.
5. Use dates and vocabulary relating to the passing of time including ancient, modern, BC
and AD.
The session provides opportunities for
1. Discussion
2. Observation
3. Questioning
4. Speaking and listening
5. Describing (speaking, writing, drawing)
6. Deduction and/or interpretation
Social skills
1. Co-operation
2. Respect for things/other people
National Curriculum 2014
History Key Stage 2

the achievements of the earliest civilizations – an overview of where and when the first
civilizations appeared and a depth study of one of the following: Ancient Sumer; The
Indus Valley; Ancient Egypt; The Shang Dynasty of Ancient China
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Brighton Museum & Art Gallery
Generic Hazard Sheet – Organised visits
This sheet will enable schools or groups to use this information for the development of visit
risk assessments as required by statutory regulations on Health & safety.
The following hazards have been identified as being inherent to visits to and use of Brighton
Museum & Art Gallery and its facilities. These hazards are themselves subject to individual
risk assessment by this organisation. This list may not include all hazards that may be present
and the Council does not accept liability for omissions to this list.
Control measures indicated are for guidance only and the group must satisfy itself as to their
suitability.
Hazard
Fire
Collision with objects on
display
Reckless behaviour –
injury to self and others
Trips, slips, falls
Doors
Passenger Lifts
Handling objects –
physical injury or toxic
reaction
Arts and Crafts activities
–
Cutting & Fastening,
choking, Paint & glue
Lunch Room
Recommended Control
Evacuate immediately on alarm or if asked by
Museum staff. Follow all evacuation instructions
No running. Follow instructions on behaviour from
staff
Verbal instruction and adult supervision
No running. Beware of changing light levels &
changing floor levels. Beware of group members
and group leaders looking at displays and not at
floor. Verbal instruction on hazards.
Beware of trapped fingers, automatic doors and
collision with glass doors.
Supervision required
Follow instructions on behaviour. Do not place
objects or hands in mouth or eyes. Wash hands
afterwards.
Use only equipment provided or recommended.
Follow instructions.
Adult supervision.
Adult supervision required
August 2014
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Group Leader’s Sheet
Group Leader
Group Members
Schedule for the day
The group should collect information about
They should use the following galleries/displays
They need to
Please encourage students to ask questions and talk about the things they find. Ask them lots
of questions to encourage them to look at the display closely. Can they find out more from the
labels or objects around them?
5
Visit guidelines
BEFORE YOUR VISIT
 Please ensure that students have pens or pencils and clipboards if necessary.
 The students should wear suitable footwear.
 Please ensure that you have enough adults to provide adequate supervision for your
group. Minimum staff ratio is 1:10 KS1+2, 1:15 KS3.
 All group leaders and accompanying adults must have a copy of the confirmation letter
and a group leader’s sheet that lists the itinerary for the day.
ON ARRIVAL
 Groups must arrive at least five minutes before their first activity is due to start. The
teacher in charge should escort the group into the main entrance of the museum and
report to the information desk. It is essential that you tell us how many students and
adults are in your group.
GALLERY VISITS
 School parties must remember that the museum is open to members of the public as
well. Please supervise your group so they do not block walkways or displays. It would
be very helpful if group visits to different galleries are staggered. Worksheets can be
distributed before entering the galleries. A range of worksheets can be downloaded
from the museum’s website at www.heritagelearningbrighton.org.uk
TEMPORARY EXHIBITIONS
 The temporary exhibitions on the first floor change every 3-4 months. There will be
warning signs on the door if the content of the exhibition is unsuitable for particular age
groups or contains sensitive material. Please take note of this before allowing students
in.
PHOTOGRAPHY
 Photography is allowed throughout the museum. Occasionally photography will not be
allowed in the temporary exhibition galleries and there will be a sign on the door to
indicate this. When taking photographs please be aware of other visitors around you
and ensure you do not block gangways or disturb others.
TEACHING SESSIONS
 If you have pre-booked a teaching session with a museum teacher please report to the
information desk where you teacher will meet you and escort you to the education
rooms.
ACCESS AND SPECIAL NEEDS
 All areas of Brighton Museum & Art Gallery are accessible for wheelchair users and
people with limited mobility. Please inform Museum Learning of any access or special
needs requirements when booking your visit.
 Sessions can be adapted to suit individual groups. Please discuss any specific
requirements with Museum Learning when booking your visit.
MUSEUM SHOP
 Students must be accompanied by a teacher or adult at all times.
LIFT
 The lift is primarily intended for elderly and disabled visitors. Please tell your group this
before the visit. The lift is situated in the World Art gallery on the ground floor and the
Fine Art gallery on the first floor.
TOILETS
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
There are toilets on the ground floor and in the basement by the education rooms.
There are accessible toilets on the ground floor by the education rooms and on the first
floor by Brighton History Centre.
SCHOOLS’ PICNIC ROOM
 School groups can picnic in the Pavilion Gardens in good weather.
 The Picnic Room is heavily booked so schools must adhere strictly to their allotted
time. Please show your conformation letter to staff at the Information Desk and they will
escort you to the Picnic Room. If you are paying on arrival please pay at the Museum
Shop. Please ensure that your group places all litter in the bins provided.
BEHAVIOUR IN THE MUSEUM
 Teachers are responsible for the behaviour of their groups throughout the visit. Please
ensure that your party is divided into small groups and that a member of staff or
responsible adult is in charge of and in sight of each group. Other visitors must not be
disturbed by inconsiderate behavior.
 No food or drink, including sweets, may be consumed anywhere in the museum,
except the Picnic Room and the café.
 It is not permitted to touch any of the exhibits on display. This is for their long-term
preservation and for safety reasons.
 We regret that failure to abide by these rules may result in the group being asked to
leave the building and future visits by the school being stopped.
TO GET THE MOST OUT OF INDEPENDENT VISITS
 Please ensure that you have a structured day and that your students and all
accompanying adults know what the itinerary is. If you have any queries regarding
exhibitions or activities please let us know well in advance of your visit if possible. It is
very helpful if you contact us before your visit so we can monitor how many people are
in the museum and advise you on the best time to visit.
 Please ensure that your students have been given something to do and know why they
have come to the museum. Occasionally students are left to wander with nothing to do,
which has potential for negative behaviour and can lead to increased safety risk and
disturbance to others.
 Care and consideration must be given to all other users of the museum.
HEALTH AND SAFETY
 The museum has staff fully trained in first aid should you need assistance. In this event
please alert your museum teacher, if you have one, or another member of museum
staff.
 It is essential that groups adhere to our rules and regulations regarding running in the
galleries, down the stairs etc. This helps to prevent accidents and ensures that all
visitors to the museum have a safe visit.
 The museum has full evacuation procedures in case of emergency or fire. All fire exits
are clearly marked and all staff have received training in evacuation procedures.
Please ensure that your group understands the importance of following such
procedures in the event of an evacuation.
 The museum has £25 million Public Liability Insurance cover.
TRAVEL AND PARKING
 Brighton Museum & Art Gallery can be reached on the following buses:
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

1, 1A, 2, 2A, 5, 5A, 5B, 7, 12, 12A, 13, 14, 14B, 14C, 17, 20, 21B, 22, 24, 25, 25A, 26,
27, 27A, 28, 28B, 29, 37, 38A, 40, 46, 46A, 47, 49, 49A, 50, 50A, 52, 55, 56, 57, 59,
77, 81, 81A, 81B, 81C, 87, 273, 700
Coach drop off point is in Church Street BN1 1UD
Minibus and car parking is available for disabled group visitors but must be booked in
advance. Please tell us the registration number of the vehicle when you make your
booking.
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Preparing for a visit
A visit to Brighton Museum & Art Gallery will be most effective if it is embedded within your
existing curriculum plans as part of an ongoing project, rather than a one-off experience. The
pre and post visit activities offered here provide a number of ways of making links between
investigating ancient Egypt at the museum and learning in the classroom.
Looking at objects
Objects do not have to be genuine ancient Egyptian artefacts. There are plenty of secondary
materials such as books, websites and displays that can provide an introduction to learning
about ancient Egypt. Encourage pupils to find out anything they can about the lives of the
ancient Egyptians. Ask them to think about how their lives are different from or similar to their
own lives.
Asking questions: what do we know about Egypt?
 What do we already know about ancient Egypt?
 Where is Egypt?
 What is the climate like in Egypt?
 What did ancient Egyptians wear?
 What is an archaeologist and what role have archaeologists played in finding out more
about the ancient Egyptians?
 How can we find out more about ancient Egypt?
Create a timeline
Make a timeline that begins with ancient Egypt and ends with the present day. Ask pupils to
identify key events in history that they recognise between these dates. This activity can
provide pupils with a strong visual tool to emphasise how far back in history ancient Egypt is.
Investigate Ancient Egyptian gods
The Egyptians worshipped hundreds of different gods and goddesses. They were often
shown as part animal, part human (zoomorphic), and had different areas of influence
depending on their characteristics. Ask pupils to work in groups to find out some of the gods
and goddesses featured in Brighton Museum & Art Gallery’s collection. Pupils could
complete a table similar to the one below, in which they identify what each god looks like and
what their area of influence is.
Name
Anubis
Osiris
Apis
Sekhmet
Bastet
Eye of Horus
Isis
Khnum
Khepri
Appearance
Area of influence
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Post visit activities
Become an archaeologist of ancient Egypt
Pupils could imagine themselves to be archaeologists uncovering an ancient Egyptian burial
site.
They could research people like William Petrie and Francis Griffith to find out more about the
artefacts they discovered and how they recorded what they found.
Pupils could then create their own ‘tomb card’ based around the objects that they would like
to find in a burial site. They could draw diagrams plotting the site, sketch details of objects
and write descriptions of what they found and what they think different objects might have
been used for.
Possible objects for investigation could include the hieroglyphs on the coffin, the amulets and
other jewellery adorning the mummy, the Canopic jars or the shabti.
Make a shabti
Pupils could make a shabti using modelling clay.
When designing their shabti, pupils will need to think about what jobs they expect their shabti
to do in the afterlife, and how they will symbolically show this through the decoration or props
given to their shabti. They could also write their own spell from the book of the dead, in order
to bring their shabti to life in the afterlife.
A day in the life – diary entry
Following their experience of re-enacting the process of mummification, pupils could write a
diary entry from the point of view of one of the characters involved in the ceremony. They
could choose to be a priest, an embalmer, a mourner or even the god Anubis or the goddess
Maat.
In their diary entry, they could describe what their role was in the mummification process; the
significance of what they did and what they thought might happen at the weighing of the heart
ceremony, based on their opinion of the deceased.
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Ancient Egyptian Fashion
This resource contains information about ancient Egyptian fashion and ideas for dressing up
as an Egyptian. It is suggested that all children booked to attend the Ancient Egyptian session
at Brighton Museum & Art Gallery come dressed up in style of this period. Included in this
pack are a variety of ideas and patterns for making a complete outfit, ranging from simple
suggestions to more advanced ideas. The materials needed to make each piece and the level
of difficulty is indicated at the beginning of each section. Templates for patterns are included
in this resource, but you can of course make your own designs.
Items to make

Tunic

Crown

Necklace

Headband

Amulet

Make up

Bracelet
Clothing in Ancient Egypt
In response to Egypt’s hot climate, people wore lightweight linen clothes that kept them cool.
Because linen is a natural fibre that degrades, actual examples of Ancient Egyptian dress
tunics does not survive today. We can see what they wore from the many paintings and
sculptures they left behind. Both sexes paid great attention to their appearance, which
changed over time and could reflect a person’s status and sometimes their occupation.
Men wore short skirts called kilts, or tunics; women wore long straight tunic-like dresses,
whilst young children often went without cloths in the hot summer months. The main garment
worn by everyone was usually plain white. Decorative elements were mostly confined to
removable collars and accessories such as sash-belts, headwear, and jewelry.
Egyptians, both men and women, wore as much jewelry as they could afford. Wealthy people
adorned themselves with broad collars made of gold or copper and precious stones such as
amethyst, onyx and lapis lazuli. Amulets, bracelets, rings and anklets were also popular.
Women wore large round earrings and put bands around their heads or held their hair in
place with ivory and metal hairpins. Ordinary people wore necklaces made of brightly colored
pottery beads, seeds, shells and flowers. Many pieces of Egyptian jewelry and amulets
survive in museum collections. You can see examples in the Ancient Egypt galleries in
Brighton Museum & Art Gallery.
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It seems that most ordinary Egyptian people did not cover their heads, those who were better
off occasionally wore wigs and hairpieces. In paintings and sculptures pharaohs are always
shown wearing crowns, but it is not known whether they wore them everyday or if this was
just a pictorial convention.
Make-up was also worn by both sexes. Green, blue and black eye paint is the most well
known kind of Egyptian make-up. Egyptians usually went barefoot, but wore sandals made of
straw, rush or leather on special occasions. Those worn by the king were very elaborately
decorated.
In the following sections of this resource you will find instructions on how to make the main
types of Egyptian garments and decorative items – tunics, collars, amulets, bracelets, crowns
and eye make-up. If you would like to find out more information about Egyptian dress there is
a small bibliography at the end of this resource.
Tunic
The tunic worn by both men
and women was called a
kalasiris. The cut and
draping of these garments
varied over the centuries,
but the basic shape
remained fairly consistent. It
was a long t-shirt like
garment that reached to the
knees (for men) or to the
calves or ankles (for
women). As the sewing of
clothes was labour intensive
and the art of tailoring hadn’t
yet developed, most
kalasiris were simply made
from a rectangular piece of
cloth folded in half and sewn
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up the sides, with holes left for the arms and an opening for the head cut at the centre. The
kalasiris women wore could cover one or both shoulders, or have narrow shoulder straps.
Some tunics had short sleeves; others were sleeveless. The fit could range from tight to quite
loose; a sash-belt was often worn to hold together the folds of cloth. You could to discuss the
draping and styling of tunics by encouraging children to explore the different ways a
rectangular piece of fabric can be wrapped and draped around their body.
Kalsaris were almost always made from Linen. A
natural fabric produced from the fibres of the flax
plant grown in Egypt, linen was light, airy and allowed
for freedom of movement. Linen was also very easy
to wash, this was very important in Ancient Egyptian
culture where cleanliness was highly valued.
Everybody in Egypt, rich and poor, wore linen. The
best quality finest woven linen was reserved for
royalty and the rich, with peasants wearing a coarser
woven variety.
Making a tunic
Difficulty level: Advanced or Easy ‘no-sew’ options
What you will need for the advanced option:

A piece of white cotton/poly-cotton fabric
measuring at least 2 metres by 60 cms. Fabric
Land, C&H Fabrics and fabric shops in the
North Laines in Brighton sell sheeting fabric
cheaply, or an old white sheet will work just as
well

Tape measure

Scissors

White thread

Needle, sewing machine or iron-on hemming tape
What you will need for the easy option:

A white cotton pillowcase or a large man’s white t-shirt

Scissors
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Instructions for advanced option:

To work out the exact size piece of material you will need, you will have to measure
both the length and width

To find out the length of the tunic, measure your child from neck to knee (boys) or neck
to calf or ankle (girls)

To find the width, have your child stretch their arms out to the side, parallel to the floor.
Measure from elbow to elbow. This will produce a fairly loose tunic, for a tighter fit
measure from higher up the arm towards the shoulder

Cut a rectangle of fabric to the dimensions of the measurements of your length and
width

Fold the material in half lengthwise
14

Cut a shallow semi-circle in the centre of the fold, just big enough for the neck. Cut a
slit about 7 cms down from the neck toward the back of the costume. Try the tunic on
over child’s head. If it neck isn’t wide enough you can make the slit longer

Sew up the sides, leaving gaps of at least 20 cms for the arms at the top

If you don’t wish to sew you can join the sides using iron-on hemming tape.

You can hem the tunic if you want to and turn under the raw edges of the armholes
and sew flat

Turn the tunic inside out, so that the seams are now
on the inside

Cut a long piece of material for a sash-belt and tie
around the waist

We would advise dressing your child in a white vest
or t-shirt and shorts underneath the tunic
Instructions for easy ‘no-sew’
options, using a pillowcase or
a t-shirt:

Cut out a shallow semi-circle in
the centre of the closed short
end of a pillowcase, making
sure you cut through both layers
of fabric

Cut a slit about 7 cms down
from the neck hole toward the
back of the pillowcase
15

Cut out shallow semi-circles for armholes on either side of the pillowcase

Cut a long piece of fabric for a sash-belt and tie around the waist of your pillowcasetunic

Tie a sash-belt, made from a strip of fabric, around the waist of a large man’s white tshirt. You may need trim the sleeves of the t-shirt if they are too long
Collar
Broad beaded collars called wesekh, meaning literally “the broad one” were popular for much
of the period of Ancient Egypt. Wesekh collars were a favourite ornament of gods, pharaohs
and ordinary people. They were considered so special that kings presented them to soldiers,
officials and dignitaries as a mark of honour.
Wesekh were made
from tube-shaped
beads, strung close
together in horizonal
rows. A counterweight,
called a menat, was
worn at the back of the
collar. The menat
relieved the weight of
the collar on the neck
and made sure it lay
properly. Because of
these practical functions
the menat also became
a symbol of stability.
Some elaborate broad collars made of gold and bands of coloured beads were more durable
versions of perishable floral collars. The different coloured bands represented real flowers
that grew in Egypt, such as cornflowers, lotus blossoms, poppies, dates and persea fruit.
These necklaces are shown in paintings worn by guests at banquets and are painted on
statues from the Old Kingdom onward. You may wish to make broad collars based on the
colours of children’s favourite flowers.
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Making a collar
Difficulty level: Easy to Medium
What you will need:

Thin card

Scissors

Felt tip pens or colouring pencils

Large sequins, beads, scraps of fabric, braid, pieces of coloured paper, foil, cellophane
or sweet wrappers

Glue

Hole punch

Wool, string or thin ribbon

Compass
Instructions:

Print the templates for the broad collars and counterweight

Enlarge on the photocopier to the desired size (the collar should extend to about an
inch before the end of your child’s shoulder), print onto thin card and cut out

Colour in the collar and menat using felt tip pens or colouring pencils or collage with a
variety of materials of your choice

Punch a hole at either end of the collar

Knot a piece of wool, string or ribbon through each hole, thread through the
counterweight and tie at the back of the neck
17
18
If your child would like to make a collar of their own design follow these
instructions:

Measure your child across the chest, from about an inch before the end of each
shoulder

Divide this measurement in half, this is the radius of your collar. Using a compass
draw a circle on a piece of card using this measurement. If your compass is too
small, attach a pencil to a piece of string the same length as your radius, hold the
string taut and draw a circle

Decide how broad you would like your collar to be and draw a smaller circle in the
centre the larger one, the smaller circle needs to be large enough to fit around your
child’s neck

Cut out the outer circle, cut out a segment, approximately 1/5 the of the
circumference of collar to the depth of the inner circle, cut out the inner circle

Draw on your design and decorate.

Punch a hole at either end of the collar

Knot a piece of wool, string or ribbon through each hole, thread through the
counterweight and tie at the back of the neck
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Vulture Amulet
The Egyptian word for amulet is mk-t, which means protection. Amulets were believed to
possess magical powers, which protected the wearer. Vultures were a sacred symbol in
Ancient Egypt, they were thought to bring to the protection of the Goddess Isis to the dead.
They were worn as amulets, made of gold, around the neck.
Making an amulet
Difficulty level: Easy to Medium
What you will need:

Gold coloured card, or white card painted gold

Scissors

3 dimensional gold glitter paint (available from most craft shops) or marker pen or craft
knife

Wool, string or ribbon

Hole punch
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Instructions:

Print out the template and enlarge it onto the photocopier to your desired size

Copy the template onto gold coloured card and cut out

Use gold glitter 3 dimensional paint or a black or gold marker pen to outline the pattern
on the amulet. Alternatively use a craft knife to score the pattern into the card

Punch holes at the top of the wings of the vulture

Measure a piece yarn, string or ribbon deciding how low you would your amulet to
hang. Tie the yarn through the holes
Bracelets
Egyptians wore bracelets in pairs, one on each arm. Rigid cuff bracelets were made from a
sheet of metal, hammered into shape, cut, crimped and soldered. They were either decorated
with rows of stones or patterns, sometime featuring protective symbolism.
Difficulty Level: Easy
What you will need:

Gold coloured card or white card painted gold

Scissors

3 dimensional gold glitter paint or small squares of coloured pieces of paper or
gummed coloured paper

Double sided tape

Glue
Instructions:

Print the templates onto gold coloured card, cut out the bracelet and trim the length to
fit your child’s wrist

Use 3 dimensional gold glittery paint to outline the decorative designs, or stick small
squares of coloured paper in vertical rows to imitate stones

Tape the bracelet on the wrist with double sided tape
21
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Headdresses
Only royal people and gods wore headdresses, which could take a variety of shapes. Royalty
believed that the crown they wore connected them with the power and protection of particular
gods. They also wore crowns to identify their rank and function. In sculptures and reliefs royal
crowns are often shown to be very tall,
allowing the wearer to dominate the
scene. The patterns below are for three
types of headdresses – the Red Crown,
the Atef Crown and a diadem.
Diadem
A diadem is a headband or circlet worn
by a royal person. A golden diadem
was found around the head of
Tutankhamun's mummy. Diadems
were made from precious metal inlaid
with gem stones. Many have attached
to the centre front the Uraeus snake
(cobra), which symbolised the sun
god’s eye.
Difficulty level: Easy
What you will need:

Gold coloured card

Scissors

Double sided tape

Coloured paper, sequins, felt tip pens or paint
Instructions:

Cut out a band of gold card slightly longer than the diameter of your child’s head

Decorate with felt tip pens, paint or collage to represent jewels

You could also cut out a the silhouette of a cobra and attach it with tape to the front of
your diadem

Fix the two ends of the diadem together with double sided tape
23
The Red Crown
The Red Crown, called in Egyptian Deshret, was worn
by the rulers of Lower Egypt. Its distinctive feature was
a curly wire that represents the proboscis of a honey
bee. No Red Crowns are known to have survived, so
we don’t know how they were made, but it has been
speculated that they were constructed of fabric,
copper or leather.
Difficulty level: Medium
What you will need:

Red card

Tape measure

Pencil

Scissors

Tape

Wire
Instructions:

Measure the circumference of your child’s head

Cut a rectangular piece of card 5 cms longer in length that the measurement of your
child’s head and at least 35 cms in height

Draw out the shape of the crown onto the card, following the pattern below.

Cut out the crown

Try the crown on your child’s head and mark their position of their ears

Cut out shaped notches for their ears, as shown below

Cut out a rectangular piece of card about 4cms in width and about one and quarter
times the length of your crown

Wrap this piece of card around a pencil and release to create a curl

Tape the card onto the inside back of the crown as shown below. Depending on the
stiffness of your card you may need to reinforce this piece with some wire taped onto
the back

Stick the two ends of the crown together at the front with double sided tape
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
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Atef Crown
The Atef Crown is associated with the Osiris, the god of resurrection and the afterlife. It is
composed of a white bulbous headpiece flanked by ostrich feathers. The feathers represent
truth, justice, morality and balance. In the Ancient Egypt gallery in Brighton Museum you will
find the feather pieces of an Atef crown mounted on a modern replica.
Difficulty Level: Advanced
What you will need:

Tape measure

Balloon

Strips of newspaper

Wallpaper paste

Craft knife

Scissors

White paint

White card
Instructions:

Measure the circumference of your child’s head

Blow up a balloon, so that at its widest point it is slightly larger than the circumference
measurement, knot the end of the balloon firmly

Cover your balloon in strips of newspaper soaked in a wallpaper paste. Repeat until
you have 3 layers of paper. You may want to use paper towel for the last layer to
create a smoother surface

Allow the newspaper to dry completely

Draw a line around the widest point of the balloon and cut around this line

Cut out two feathers shapes from white card following the template below
Insert drawing of feather shape

Cut a slit on either side of balloon, near the bottom rim

Paint the balloon white

Insert the feather shapes into the slits and secure inside with tape
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Make up
The most popular cosmetic was made of ground galena, a dark lead ore, mixed with water or
gum to produce a black paste called kohl. Applied to the rims and lashes, kohl emphasised
the eyes’ contours of reduced the glare of harsh sunlight.
Difficulty level: Easy
What you need:

Black face paint
or
hypoallergenic
black eye pencil

Optional: Green
or blue face
paint
Instructions:

You may
optionally wish
to begin by
creating a base
of green or blue
colour on the eyelid

Draw a line along the rims of the upper eye lid from the inner to the outer corners,
ending with an upward flick

Repeat the process on the lower eye lids, meeting the line from the upper lashes at the
outer corner
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Bibliography
Cyril Aldred, Jewels of the Pharaohs: Egyptian jewelry of the Dynastic Period, Thames &
Hudson, London, 1971
Carol Andrews, Ancient Egyptian Jewelry, British Museum publications, London, 1990
Richard Balkwill, Clothes and Crafts in Ancient Egypt, Dillion Press, Parsippany, NJ, 1998
Tom Tierney, Ancient Egyptian Fashions, Dover Publications, 1992
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Background
This section is intended to give the teacher background information on the process of
mummification and the role of archaeologists in interpreting the significance of mummification.
Please do not use this information with your class BEFORE your visit as it will undermine their
investigation and discovery on the day.
Mummification
Most people were buried in pit graves in the hot dry sand and this mummified the body
naturally. However, as building techniques improved the wealthy had larger tombs built to
house the many grave goods that they wanted to use in the afterlife. This posed a problem
as damp crept in and caused the body to rot quickly and so the mummification process was
developed. The process described here is the method that only the wealthy could afford and
would have taken 70 days to complete.
Soon after death the body of the deceased was brought to the mummification tent, per-nefer,
which means ‘the beautiful house’ or ‘the place of mummification’. The tent would protect the
body from the heat, and allow air to pass through, taking away the bad odours that would
accumulate.
The embalmers would begin the process by washing the body with sacred water, which was
taken from a sacred local lake. Then they began to remove the various vital organs. First the
brain was removed. A chisel was passed up a nostril into the cranial cavity. Using a spatula
the brain was cut into small pieces. A hooked rod was inserted, and turned to make the brain
liquefy in order to extract the brain through the nostrils. After that, the skull cavity was cleaned
and stuffed with linen. Finally, resinous liquid was poured into the skull.
Next an incision was made, on the left side of the abdomen and all the remaining internal
organs, except the heart, were removed. The cavities were cleaned and rinsed with palmwine, gum-resin and vegetable matter and then treated with natron (salt) and ointment. Each
organ was soaked in natron for 40 days before being bandaged and placed in one of four
Canopic jars. These took the forms of the four sons of Horus and each one protected a
particular organ. The cavities were then ‘stuffed’ with linen parcels of natron (to speed up the
drying process) and sawdust (to absorb liquids).
After 40 days, the body was taken out of the natron and the temporary stuffing packages were
removed. The chest and abdominal cavity were washed with palm wine and re-stuffed with
fresh dry materials; these included aromatically perfumed cloth packing. The incision was
closed by stitching with linen string, the body was anointed with cedar oil, and the mouth, ears
and nose were sealed with beeswax or linen in molten resin.
To preserve the body, the mummy was then wrapped with linen. The wrapping process,
starting with the fingers and toes, and then the rest of the body, would take 15 days. As the
embalmers were wrapping the body they would sew amulets (protective magical charms) into
the bandages. The material that each amulet was made of was chosen for its supposedly
magical properties. Different amulets were connected with different powers, and where they
were placed on the body was significant.
The body was now ready for burial and transported to the tomb site. Before being laid to rest
a burial mask was placed over the mummy’s face. The wealthy could be placed into several
caskets before being finally laid into a stone sarcophagus to protect the body.
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Opening of the mouth ceremony
The opening of the mouth ceremony was an important ritual. The ancient Egyptians believed
that this ceremony would bring sensory life back to the deceased person, enabling it to see,
hear, smell, breathe, eat and therefore partake of the offerings that the deceased family would
leave in the tomb, or brought each day. It would ensure that the Ka had sustenance for
eternity. This act was also practised on statues and figures of the dead. If it was not possible
to leave real food and drink they would be provided in the form of clay offerings, paintings of
food and drink or hieroglyphs listing types of food and drink.
Once the mummy had arrived at his tomb, the priest (dressed in his leopard skin throw) would
read spells from sheets of papyrus. The coffin would be placed upright in front of the tomb. It
would then be purified with sacred water poured from jars and the mouth cleansed with balls
of natron. Incense would be used also as part of the purification.
The rite consisted of many acts, the opening of the mouth being just one of them. As the
priest recited the spells, he would touch the mummy’s mouth with an instrument called an
adze. This was an arched metal blade fastened across the top of a wooden handle with
leather thongs. This was raised twice to the mummy’s lips, then a pesesh-kef, a knife or
wand, touched the mummy’s face. Other acts included offering food to the mummy,
slaughtering an ox and then offering one of its forelegs to the face of the mummy. The
hieroglyph for foreleg denoted strength, and perhaps it was considered that the foreleg
transferred the life-force of the bull to the mummy.
Once all these different rites had been performed, the ceremony would be complete. The
mummy was now ready to be awoken in the afterlife.
The Ka
Ancient Egyptians believed that the
Ka was the ‘life force’ of the person.
It stayed with them from the moment
they were born and remained with
them in the afterlife. The Ka however
needed food to survive so offerings
were made by relatives of the
deceased to feed the dead person’s
Ka.
The Ba
Ancient Egyptians believed that the
Ba was the personality of the
person. It was believed that a dead
person’s Ba could leave the tomb
as long as it returned by nightfall.
To do this the Ba took the form of
the Ba bird, which had the body of
a bird and the face of a human.
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Weighing of the heart ceremony
The ancient Egyptians believed that when they died – and before they could be granted a
place in the afterlife – they would be judged on their behaviour during their lifetime. This
judgement ceremony was called ‘weighing of the heart’, and is recorded in the text of the
book of the dead.
The ceremony was believed to have taken place in the presence of Osiris, god of the
underworld, together with 43 other deities. The deceased had to swear before the gods that
he had not committed any sins during his life and that he had lived a good and wholesome
one. If he was found innocent by the gods he was allowed to proceed into the afterlife.
The ancient Egyptians believed the heart to be the centre of thought, memory and emotion. It
was considered to be the most important organ in the body and without it one could not
survive. The weighing of the heart ritual involved presenting Anubis with the heart of the
deceased, which was then weighed against a feather on the enormous scales of truth and
justice. The feather symbolised truth and justice and was given by the goddess Maat.
If the heart balanced against the feather then the deceased would be offered a place in the
afterlife and they could pass through into the ‘Fields of Hetep and Iaru’. However, if the heart
was found to be heavier than the feather because of the deceased’s wrongdoings, then the
heart would be grabbed by the ‘devourer of the dead’; a beast with the head of a crocodile,
the front legs and body of a lion and the back legs of a hippopotamus. The devourer would
eat up the heart and the deceased would cease to exist. There was no belief in a place like
hell. If the deceased succeeded in passing through into the afterlife, their heart was returned
to them never to be removed again.
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Finding out about ancient Egypt: archaeology and Egyptology
Archaeology is the study of the human past, through the physical traces left behind in the
landscape. It includes objects used in everyday life, standing monuments and landscape
features, and sites buried beneath the ground. Its goal is obtaining a greater knowledge about
lost societies and their behaviour.
Archaeologists are researchers who go direct to the source and analyse ancient cultures
through artefacts, inscriptions and other remains. Although locating artefacts and the physical
remains of cultures such as buildings, roads and utilities like wells and aqueducts, are a vital
and necessary part of the work, they remain only a means to an end. Their importance lies in
what they can tell about the people and cultures that produced them.
Egyptology is the investigation of ancient Egyptian culture including its hieroglyphic language,
history, art, trade and religion. It covers six time periods from the Stone Age up to the end of
the Roman Period around AD 324. In 1822 the famous Rosetta Stone was deciphered and
permitted Egypt's ancient writings to be understood, leading to an ongoing interest in the
study of ancient Egypt.
Notable people associated with the Egypt collection at Brighton Museum & Art Gallery
William Mathew Flinders Petrie (1853-1942)
In the early 1880s Petrie travelled to Egypt to measure the Great Pyramid at Giza. From his
visit to Egypt he developed a passion for all things Egyptian and devoted the rest of his life to
Egyptian archaeology. He became a pioneer in his time with his method of excavations. He
introduced careful study and record keeping. Instead of just digging and removing objects he
systematically removed objects by recording them scientifically. He developed a way of
chronological dating by comparing fragments of pottery found in the layers of the dig. Petrie
trained many well know archaeologists including the famous Howard Carter who went on to
discover the tomb of Tutankhamun in 1922.
Francis Llewellyn Griffith (1862-1934)
A renowned Egyptologist, Griffith worked initially as Petrie's assistant at some of his early
excavations in the 1880s. Griffith also directed excavations at a number of sites in Sudan and
objects from his excavations at Faras and Sanam were given to Brighton Museum. He was a
professor at the University of Oxford and a bequest after his death led to the creation of the
Griffith Institute at the university in 1939.
Arthur Foster Griffith (?-1933)
Alderman of the town of Brighton, A F Griffith was the brother of the well-known Egyptologist,
Francis Llewellyn Griffith. A F Griffith donated quantities of objects to the museum, many of
which seem to have been acquired from Egypt in 1876.
33
To find out more please visit
www.brighton-hove-rpml.org.uk
or contact Museum Learning
03000 290903
visitor.services@brighton-hove.gov.uk
You may also like to visit …
 The Royal Pavilion
The Royal Pavilion was the extravagant seaside residence of King George IV. The lavish
interiors combine Chinese-style decorations with magnificent furniture and furnishings.
Adorned with gilded dragons, carved palm trees and imitation bamboo staircases, the
palace's unique style mixes Asian exoticism with English eccentricity. Daring and inventive
colours feature throughout, and there are many original items on loan from HM The Queen.
The Royal Pavilion offers independent visits and guided tours to school groups
 Brighton Museum & Art Gallery
Brighton Museum & Art Gallery was originally King George IV’s riding stables. In 1873 the
building was converted into a museum, with the incorporation of a library in 1902. In 2002
£10 million was spent on redevelopment and Brighton Museum & Art Gallery now boasts
dynamic and innovative galleries that provide greatly improved access to the museum's
nationally and locally important collections. Galleries include Fashion & Style, World Art,
Performance, Body, Fine Art, Local History and 20th Century Art & Design. The museum has
a thriving temporary exhibition programme, ensuring that visitors have greater access to the
museum’s large collections, and opportunities to enjoy a broad and exciting range of art, past
and present, as well as touring exhibitions.
Independent visits and taught sessions to school groups as well as school loans can be
booked
 Hove Museum & Art Gallery
Hove Museum & Art Gallery houses the most important contemporary craft collection in the
South East outside London, and one of the most significant toy collections in the UK. Come
along and see the magical Wizard's Attic where highlights include dolls, teddy bears, a
working train set, a workshop for broken toys and a bedroom split by time. There is also a
Local History gallery containing the Amber Cup, one of Britain's most important Bronze Age
finds, and Fine Art, Film and Exhibition galleries.
Hove Museum & Art Gallery offers independent visits and taught sessions to school groups
 The Booth Museum of Natural History
This beautiful Victorian museum is the place to see dinosaur bones, a whale skeleton, and
hundreds of species of British birds and butterflies. Feel, touch and learn about natural
history in the interactive ‘hands on’ gallery, and admire the macabre art of Victorian taxidermy
in this quirky museum.
The Booth Museum of Natural History offers independent visits and taught sessions to school
groups as well as Natural History School Loans
 Preston Manor
This old Manor House evokes the atmosphere of an Edwardian gentry house both 'upstairs'
and 'downstairs'. Dating from c1600, rebuilt in 1738 and substantially added to in 1905, the
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Preston Manor offers guided tours and Victorian role-play to school groups
34