94 THE NEAR EAST AND THE EASTERN MEDITERRANEAN
reassembled in the Cairo Museum, and portions of others. These statues formed a set of twenty-
three, of diorite, schist, and alabaster, which stood in the main room of the temple, the T-shaped
columned hall that lies to the west of the antechamber. Each statue perhaps symbolized one or,
in three cases, two of the twenty-six parts of the king’s body.
The statue of Khafre resembles that of Djoser (Figure 5.10), but there are significant differ-
ences. Khafre, a benign expression on his face, sits stiffly on a high-backed throne, but with both
arms placed on his thighs, the right fist clenched, the left hand open, palm down. Like Djoser
he wears the royal nemes headdress, now deco-
rated with a uraeus or erect cobra, and the royal
beard, but instead of the sed-festival cloak he
wears a royal kilt with a precise pattern of
folds.
This statue, by displaying additional
emblems of the king’s power, shows more
clearly than the statue of Djoser how the king,
the land, and the gods were intertwined. Two
lions, symbols of strength, support his seat.
On each side of the throne, enframed by the
lion’s body, is the motif that represents the
union of the two regions of ancient Egypt: the
hieroglyphic sign for “union,” the knotting
of the two plants that symbolize Lower and
Upper Egypt, the papyrus and the lily. Lastly
and most dramatically, a falcon sits on the top
of the throne, perched behind the king’s head.
This representation of Horus, the sky god,
spreads his wings to either side of the king’s
head in a protective embrace – in addition, a
symbol that the king is the earthly manifesta-
tion of Horus.
A different vision of royalty is given by a
statue found in the Valley Temple of Menkaure
(Figure 5.15). Menkaure stands with his wife
Khamerernebty in the striding pose character-
istic of Egyptian art. Both are about the same
size, somewhat under life-size (the height of
the statue: 1.38m). The king clenches his fists,
while the queen has her arm around her hus-
band. This family portrait shows an idealized
youthful, healthy couple, a vision that subse-
quent Egyptians would often emulate in their
funerary art. The statue, made of slate schist,
was unfinished when placed in the temple, with only the heads and upper bodies completely
polished. Traces of paint indicate that the entire statue was originally painted.
The exact purpose of the Valley Temple is not clear. There are several ceremonies connected
with the preparation of a royal body for burial, known from texts, that possibly were carried out
here. The body was “purified by washing,” a ceremony which assured regeneration. Second, the
Figure 5.15 Menkaure and Khamerernebty, statue
from the Valley Temple of Menkaure, Giza