<em>Relief Blocks from the Tomb of the Vizier Nespeqashuty</em>, ca. 664-610 B.C.E. Limestone, 7 1/16 x 10 1/4 in. (17.9 x 26 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 52.131.29. Creative Commons-BY (Photo: Brooklyn Museum, CUR.52.131.29_wwgA-3.jpg)

Relief Blocks from the Tomb of the Vizier Nespeqashuty, ca. 664-610 B.C.E. Limestone, 7 1/16 x 10 1/4 in. (17.9 x 26 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 52.131.29. Creative Commons-BY (Photo: Brooklyn Museum, CUR.52.131.29_wwgA-3.jpg)

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Download our app and ask your own questions during your visit. Here are some that others have asked.

Did people pay respects to the dead as they do now after mummies were buried? Also, was everybody mummified?

Yes, people paid respects to the dead with some similarities and some differences to modern Western practices. No, not everyone was mummified.

A major function of an ancient Egyptian tomb was to provide a place for people to continually bring offerings and prayers for the deceased. We know that people did actually perform these tasks based on graffiti that some visitors left behind in antiquity! You can see examples of this kind of graffiti on the Reliefs from the Tomb of Nespeqashuty. It was considered a pious act to leave your mark!

Graffiti is necessary! Were the people not mummified considered "not worthy" or something? Or did they not have any money to pay for the mummification process?

You're right, it was a matter of money. People belonging to the middle to upper middle class and above could afford a mummification and burial of varying elaborate-ness. The lower classes would be buried in the sand with a few grave goods. Most of what you see in our galleries are very fine examples of ancient Egyptian material culture representing the most wealthy individuals.

Why are there chisel marks in this piece?

We're not sure exactly when those chisel marks got there. When these blocks were excavated in 1923, the excavator noted that the reliefs had already fallen off the walls of the tomb so he didn't chisel them off!

Relief Blocks from the Tomb of the Vizier Nespeqashuty

Egyptian, Classical, Ancient Near Eastern Art

On View: Funerary Gallery 3, Martha A. and Robert S. Rubin Gallery, 3rd Floor

Tomb reliefs magically repeated the rituals required to transport the deceased to the afterlife and maintain him or her once there. The wealthier the individual, the more elaborate the decoration of the tomb. Nespeqashuty was a vizier, the highest ranking government official.

The decoration of Nespeqashuty’s tomb was never completed, allowing a rare glimpse into the artist’s working process. The three steps of relief carving are clearly visible here. First, each scene was drawn in color with attention paid to every detail. Next, the outline of each figure was carved and the background cut away. Finally, another carving of the figures softened the contour lines and sculpted the internal details.

The graffiti on the relief were written in both Demotic and Coptic, the two latest stages of the Egyptian language, as well as in Greek, during a thousand-year period after the tomb was prepared for Nespeqashuty. Writing graffiti in the tomb was a pious act, not vandalism.

MEDIUM Limestone

DATES ca. 664-610 B.C.E.

DYNASTY Dynasty 26

PERIOD Late Period

DIMENSIONS 7 1/16 x 10 1/4 in. (17.9 x 26 cm) (show scale)

COLLECTIONS Egyptian, Classical, Ancient Near Eastern Art

ACCESSION NUMBER 52.131.29

CREDIT LINE Charles Edwin Wilbour Fund

EXHIBITIONS

MUSEUM LOCATION This item is on view in Funerary Gallery 3, Martha A. and Robert S. Rubin Gallery, 3rd Floor

CAPTION Relief Blocks from the Tomb of the Vizier Nespeqashuty, ca. 664-610 B.C.E. Limestone, 7 1/16 x 10 1/4 in. (17.9 x 26 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 52.131.29. Creative Commons-BY (Photo: Brooklyn Museum, CUR.52.131.29_wwgA-3.jpg)

IMAGE installation, West Wing gallery A-3 installation, CUR.52.131.29_wwgA-3.jpg. Brooklyn Museum photograph, 2005

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RIGHTS STATEMENT Creative Commons-BY

You may download and use Brooklyn Museum images of this three-dimensional work in accordance with a Creative Commons license. Fair use, as understood under the United States Copyright Act, may also apply. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form (charges apply). For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org.

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Download our app and ask your own questions during your visit. Here are some that others have asked.

Did people pay respects to the dead as they do now after mummies were buried? Also, was everybody mummified?

Yes, people paid respects to the dead with some similarities and some differences to modern Western practices. No, not everyone was mummified.

Graffiti is necessary! Were the people not mummified considered "not worthy" or something? Or did they not have any money to pay for the mummification process?

Why are there chisel marks in this piece?