
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