Organology

and

HENRY

the

and

Iconography of

Historic

Egypt

Renaissance

G. FISCHER

WallaceResearchCuratorin Egyptology, The MetropolitanMuseum of Skill

UNDER well-merited criticism, some

for subjecting readers of theJournal towards the

years ago,

" introductory brass blasts" of my constant Egyptological advantages, I feel a few misgivings in embarking on a topic that is not just Egyptological yet literally concerns trumpets. Yet since it also

makes a comparability with Renaissance iconography, I actually

hope it may non-etheless function as an appropriate

homage to Helmut Nickel, in whose range of know-how

is probably more diverse than regarding any curator in

the history of our company. My brass blast will

be brief-despite its lengthy title-but it is a heartfelt

praise.

Although I've written anywhere else about the

Egyptian brass, ' this did not happen to me, in which

time, how very consistently its contact form is displayed in the

two-dimensional representations that constitute the

bulk of the evidence. Nor did We fully perceive the inferences that might be sucked from that fidelity. The earlier cases, dating in the reign of Queen

Hatshepsut down to the Amarna Period, show a funnel-shaped bells. This is the majority of clearly imagined in the tombs of Tjanuny2 and Nebamun, both internet dating to the

HAVING

COME

reign of Tuthmosis IV (Figures 1, 2). A comfort depict-

ent dancing young ladies from the Amarna Period shows that

the same kind of instrument was still being in use in which

time (Figure 3). a few

A funnel-shaped bell is usually exemplified by

bronze trumpet of Tutankhamun (Figure 4)-one of

the sole two musical instruments of its kind that have survived via pharaonic Egypt. In contrast to this, the different trumpet, which is made of sterling silver, has a bell that

is definitely slightly yet unmistakably flare leg (Figure 5). To

show the contrast more clearly, I use made some

drawings that straighten the shanks, both these styles which

were bent at some level by the warping of the

wooden cores placed within them (Figure 6). 4

The dating of such trumpets justifies closer attention. The one made of silver is usually redecorated having a scene exhibiting Tutankhamun inside the presence in the

principal gods; but it already bore call him by his name as component

of the initial decoration, and could therefore always be attributed with certainty to his short reign. The bronze brass bears a similar scene, which will, although even more

carefully performed, was definitely added at the

same period as its version, in prep for the

burial. This kind of bronze brass had not been written

previously, nevertheless , and its date of make is

for that reason less protect. The difference in form between the two devices strongly shows that the durete trumpet is of somewhat higher antiquity, online dating to the rule of Akhenaten, while the sterling silver trumpet represents a new style. But , such as the bronze one, the silver trumpet provides a bell made separately from

the conduit; it is maybe to be deemed, therefore , while

transitional.

Through the time of Tutankhamun onward trumpets

were constantly represented with this new type of

bell, slowly but surely flared, and no further proof of a parting between bells and shaft. 5 A specific nicety of observation appears in these cases in which the trumpeter can be shown throwing out his tool while possessing, beneath 1 arm, the wooden main that was slipped inside for reinforcement

when the brass was not utilized (Figure 7); it may

be noted which the core is definitely slightly smaller than the

trumpet itself. Therefore, while one must always make

thanks allowance intended for the conferences and constraints of

forty seven

? The Metropolitan Museum of Art 1989

METROPOLITAN

MUSEUM

24

DIARY

The remarks for this article begin on page 52.

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1 ) Trumpeters, portrait from the tomb

of Tjanuny, time of...

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