CIPEG Annual Meeting

September 23–27, 2024

MADRID, SPAIN
At the Museo Arqueológico Nacional (MAN)

Conference Theme

MAKING THE OLD NEW AGAIN:
REFURBISHING MUSEUM SPACES

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If you wish to attend the annual meeting without presenting a paper or online, please fill in the enclosed
registration form and send it to the chair, Tine Bagh: tiba@glyptoteket.dk copied to the secretary, Daniela
Picchi: daniela.picchi@comune.bologna.it.
- The deadline is 1st September!
The link to the conference will be sent after payment of the registration fee.
Conference fees (in person):••••

Conference fees (online):••••

40 Euros for CIPEG members
50 Euros for non-members
25 Euros for students
Free for CIPEG’s bursaries

30 Euros for CIPEG members
40 Euros for non-members
20 Euros for students
Free for the Egyptians/Sudanese participants

Payment of conference fees should be made to the following bank account:
CEPO: ES58 0049 0263 5026 1183 6483
The receipt of payment should be sent to: Esther Pons: esther.pons@cultura.gob.es and Isabel Olbés:
isabel.olbes@cultura.gob.es, copied to Tine Bagh: tiba@glyptoteket.dk and Daniela Picchi:
daniela.picchi@comune.bologna.it.

Conference fee includes:
Conference, abstract booklet, coffee breaks, opening and closing receptions, as indicated in the
programme.
Conference fee does not include:
Accommodation; meals, unless otherwise stated (the Museum has an indoor/outdoor cafeteria);
excursions and transportation to excursions; entry fees to sites; transportation to/from airport, visa
fees.
Conference venue:
Unless otherwise indicated, all papers are presented at the Museo Arqueológico Nacional (MAN), C/
Serrano, 13. Madrid.
Accommodation:
Conference attendees should book their hotel at their own convenience. In attachment is a list ofsuggested options.
Further information will be posted on the CIPEG website: http://cipeg.icom.museum/ and via e-mail.

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PRELIMINARY PROGRAMME
Monday, September 23, Madrid
8:00–9:00

Registration in the Museum

9:00–9:30

WelcomeTine Bagh (Chair CIPEG)
Isabel Izquierdo (MAN Director)
Esther Pons and Isabel Olbés (MAN, and conference organizers)

9:30–10.30 Keynote lecture – online conference
Christian Greco
Museo Egizio, Turin

200 Years of History: The Egyptian Museum Today
10:30–11:00 Morning coffee break
11:00–11:30 Esther Pons Mellado
Museo Arqueológico Nacional, Madrid

New Showcases, New Challenges. A Window Opened to the Future
11:30–12:00 Isabel Olbes
Museo Arqueológico Nacional, Madrid

Display Case Zero. Bringing Objects Back to Life
12:00–12:30 Maria Jesús Rubio Visiers, Débora Sonlleva Jiménez & Mercedes Fonseca Cerro
Museo Arqueológico Nacional, Madrid

Disseminating the Egyptian Collection of the MAN: New Formats and Challenges for Telling
Millenary Stories
12:30–13:00 Carmen Perez-Die
Museo Arqueológico Nacional, Madrid

Objects Found at the Heracleopolis Magna (Ehnasya El-Medina) Site, on Display in the
Permanent Exhibition Halls of the National Archaeological Museum in Madrid
13:00–14:30 Lunch break
14:30–15:00 Josef Wegner, Jennifer Houser Wegner & Kevin CahailPenn Museum, Philadelphia

Adapting a Century-Old Museum: Reinstallation of the Penn Museum's Egyptian Wing
15:00–15:30 Josef Wegner
Penn Museum, Philadelphia

Old Spaces Revived: The New Nubia Galleries
15:30–16:00 Jennifer Houser Wegner
Penn Museum, Philadelphia

A Reimagined Setting for the New Funerary and Daily Life Galleries316:00–16:30 Kevin CahailPenn Museum, Philadelphia

A Gallery Fit for a King: The Palace of Merenptah in Philadelphia
16:30–17:00 Afternoon coffee break
17:00–19:00 Visit to the Egyptian, Nubian and Near Eastern Rooms, MAN (32–35)
19:00–20:00 Opening reception

Tuesday, September 24, Madrid
9:00–11:30 Visit to Templo de Debod
11:30–12:00 Morning coffee break
12:00–12:30 Tom Hardwick
Consultant, Houston Museum of Natural Science

Renovations at the Hall of Ancient Egypt, Houston Museum of Natural Science
12:30–13:00 Lawrence Berman
Museum of Fine Arts, Boston

A Look Behind the Scenes at the New Old Kingdom Sculpture Gallery in Boston
13:00–14:30 Lunch break
14:30–15:00 Emily Teeter
Research Associate, The Field Museum, Chicago

Preliminary Plans for the New African and Egyptian Galleries at the Field Museum, Chicago
15:00–15:30 Johannes Auenmüller, Paolo Del Vesco, Alessandro Girardi, Cedric Gobeil, Federico
Poole & Martina Terzoli
Museo Egizio, Turin

Rethinking the Museo Egizio’s “Statuario”
15:30–16:00 Katalin Kóthay, Gabriella Dembitz & Flóra Kevély
Szépművészeti Múzeum, Budapest

The Interaction of Display and Museum Education: The New Permanent Exhibition of Ancient
Egyptian Antiquities in the Szépművészeti Múzeum, Budapest
16:00–16:30 Regina Hölzl
Kunsthistorisches Museum, Vienna

Visible and Invisible Adaptions in the Egyptian Galleries of the Kunsthistorisches Museum in
Vienna — Past, Present and Future
16:30–17:00 Vincent Rondot
Le Louvre, Paris

Recent Achievements and Further Thoughts: The Egyptian Department at The Louvre
Between Two Centenaries
17:45–20:00 Visit to Museo Nacional del Prado

4Wednesday, September 25, Madrid
9:00–10:00

Keynote lecture
Shadia Abdrabo Abdelwahab & Ikhlas Ahmed Idriss
The Sudan National Museum (SNM), Khartoum

The Impact of the War for the Sudanese Culture Heritage and Mitigation of the Risk
10:00–10:30 Norhan Salem, Asmaa Ahmed Meawed & Heba Khairy Metwaly
Egyptian Museum, Cairo & Grand Egyptian Museum, Giza

Rediscovering Daily Life: The Transformation of Gallery P34 in the Egyptian Museum in Cairo
10:30–11:00

Salah Omar Eman & Mohamed Gamal RashedDamietta University

Enhancing the Visitor Experience at the Egyptian Museum of Cairo: A Multidimensional Approach
11:00–11:30 Morning coffee break
11:30–12:00 Yasmine Afram
Universitat Autónoma de Barcelona (UAB)

Enriching Museum Visits: A Study of Interactive Treasure Hunts in Museums Showcasing
Ancient Egyptian Artefacts
12:00–12:30 May Rashad Abdellatif & Reham Refae
Graeco-Roman Museum, Alexandria

Using Simulation in the Development of Museum Display. The Graeco-Roman Museum in
Alexandria Egypt as a Model
12:30–13:00 Aliaa Raafat Yous
Grand Egyptian Museum, Giza

Development Management plan for Anthropological Museum at Cairo University
13:00–14:30 Lunch break
15:00–16:30 Visit to Palacio de Liria
17:00–17:30 Afternoon coffee break
17:30–19:30 Reports of the Institutions

Thursday, September 26, Madrid
9:00–10:30 CIPEG General Assembly
10:30–11:00

Morning coffee break

11:30–12:00

Mamdouh Farouk Mohamed
Imhotep Museum, Saqqara

Imhotep Museum on Focus
12:00–12:30 Hend Mohamed Abdel Rahman
Minia University, Minia

Elephantine Museum: 1910s–1950s5

12:30–13:00

Mennah Aly & Fadi Rochdi
Ministry of Tourism and Antiquities, Egypt & IFAO, Print Atelier Museum, Cairo

In the Shadow of the Printed Hieroglyphs: Narrating the History of the Printing Atelier Museumof the French Institute of Oriental Archaeology in Cairo.
13:00–14:30 Lunch break
14:30–15:00 Heba Khairy Metwaly
Grand Egyptian Museum, Giza

Tutankhamun Reimagined: Bridging Ancient Legacy and Modern Identity
15:00–15:30 Ashley Arico & Katherine Davis
The Art Institute of Chicago/University of Michigan, Ann Arbor

Late and Ptolemaic Relief Plaques: Displaying the Artistic Process Square by Square
15:30–16:00 Keiko Tazawa
The Ancient Orient Museum, Tokyo

Creating Ancient Egypt in the Middle of the Remnant of Yayoi Culture
16:00–16:30 Paula Veiga
Consultant, The Lisboa Pharmacy Museum

Ancient Artefacts - A Refurbished Building - The Lisboa Pharmacy Museum Egyptian Collection
16:30–17:00 Afternoon coffee break
17:00–17:30 Nika Lavrentyeva
The Pushkin State Museum of Fine Arts, Moscow

Getting in Different Museums: The Exhibition Travel Pack
17:30–18:00 Luis Manuel Gonzálvez & Maixaixa Taulé
Museu Egipci, Barcelona

Small-Format Temporary Exhibitions: A Model for Optimising the Museum Collections
18:00–18:30 Anna Maria Ravagnan, Laura Aldovini, M. Cristina Vannini, Danusa Castro & Cristina
ManasseICOM Italia – Coordinamento Lombardia

Reduce, Re-use, Recycle: An Application of Circular Economy in the Management of Museum
Storage in the Museums of Milan Municipality
18:30–19:00 Catriona Wilson
The Petrie Collection of Egyptian and Sudanese Archaeology (UCL), London

Capability for Collections: Refurbishing Petrie Museum Storage for the Long-term Future of theCollection
19:00–20:00 Closing ceremony and reception

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OPTIONAL EXCURSION TO TOLEDO

Friday, September 27
Bus or train (to be announced) to Toledo. Sites include the Cathedral, the Greco Museum, Cristo dela Luz Mosque, and Santo Tomé Church (with El Greco paintings).
Further information will follow.
Host Institution Contacts:•

Esther Pons – Head curator of the Department of Ancient Egyptian and Near
Eastern Antiquities: esther.pons@cultura.gob.es•

Isabel Olbés – Assistant curator of the Department of Ancient Egyptian and Near
Eastern Antiquities: isabel.olbes@cultura.gob.es

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REGISTRATION FORM
First Name:
Last Name:
Museum:e-mail (please print clearly):I am:
q a member of CIPEG
q a non-member
q a student
q an accompanying person

If you are not currently a member, what can we do to make ICOM-CIPEG membership more
attractive to you?
___________________________________________________________________________________________________________________________________________________________________________________________________________________________
Please send this form to:Tine Bagh, tiba@glyptoteket.dk; cc. Daniela Picchi, daniela.picchi@comune.bologna.it

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MAKING THE OLD NEW AGAIN:
REFURBISHING MUSEUM SPACES
Abstracts

Rethinking the Museo Egizio’s “Statuario”
Johannes Auenmüller, Paolo Del Vesco, Alessandro Girardi, Cedric Gobeil, Federico Poole &Martina Terzoli – Museo Egizio, Turin
One of the most popular spaces of the Museo Egizio in Turin was undoubtedly themonumental statue gallery historically known as the “Statuario”, rechristened “Galleria dei Re”(Gallery of Kings) in 2015. It owes its popularity to its 2006 refurbishment by Oscar-winningscenographer Dante Ferretti, where the statues were left in the positions they had largely occupied
since the nineteenth century, but were individually illuminated against a scenic alternation of dark
backgrounds and mirrors.
As part of a planned major renovation of the museum for its two-hundredth anniversary in
2024, the momentous decision was taken to completely reinstall and redisplay the überpopular statue
gallery. It is the director Christian Greco’s and the curators’ opinion that the 2006 presentation, while
its impressiveness and impact are not to be denied, relied excessively on facile visual devices andran the risk of pandering to clichés about ancient Egypt as mysterious and arcane. As such, it did not
do full justice to this exceptional group of sculptures, which originate from a single well-definedarchaeological and historical context: the temple complex of Karnak, where Jean-Jacques Rifaud
procured them for consul Drovetti in 1817-1819 — a place where the statues were bathed in a very
different sort of light.
The Museo Egizio’s plan for the refurbishment of the gallery envisages major shuffling aroundof the sculptures from their current positions to create a coherent narrative framework; installing themon lower bases and distancing some of them from the walls to improve their visibility; a completerenovation of the rooms; and a whole new décor and lighting. Work is now ongoing in the gallery, thestatues having been moved to a temporary exhibition in the portico bordering the courtyard.
This paper will present the plan, design and concept of this new “Galleria dei Re”.

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Late and Ptolemaic Relief Plaques:
Displaying the Artistic Process Square by Square
Ashley ARICO – The Art Institute of Chicago & Katherine DAVIS – University of Michigan
Sculptor’s model, trial piece, votive plaque - all these terms (and more) have been applied toa distinct class of object produced during the Late and Ptolemaic Periods. These small-scale works
usually take the form of rectangular limestone plaques decorated in raised relief with focused studies
of hieroglyphs, animals, and/or anthropomorphic figures.
One distinctive feature that appears on some of these plaques is the squared grid. The use ofgrids as part of the artistic process in ancient Egypt has a long history. However, the function(s) ofrelief plaque grids, which occur in both inked and incised forms, remains somewhat ambiguous.
Some may have been used to proportion the figure on the plaque while others were laid atop theimage as if for transference to another surface or medium. Still others appear on otherwise
undecorated surfaces (e.g., the sides and/or reverse), raising questions about their relationship to theprocess of image production.
This study looks at a subset of the corpus of Ptolemaic relief plaques: those bearing grids,
considering aspects of their creation, use, and reuse(s), as well as how past interpretations of thesefactors have influenced their classification and display in museum contexts. As a case study, we will
look at the recently installed (2022) ancient Egyptian art gallery at the Art Institute of Chicago, where
five plaques, including one with a gridded representation of a lion (AIC 1920.254), are presented
under the theme of artistic practice in ancient Egypt. Additionally, we explore the challenges ofdisplaying such objects—many of which are double-sided—as well as strategies for engaging visitorswith these highly detailed objects, including through digital interactive features.

A Look Behind the Scenes at the New Old Kingdom Sculpture Gallery in Boston
Lawrence BERMAN - Museum of Fine Arts, Boston
In February 2021 the Museum of Fine Arts, Boston, opened a new gallery of Old Kingdom art,
“Masterpieces of Egyptian Sculpture from the Pyramid Age” (see CIPEG e-News 15). This entailed
moving its renowned Old Kingdom collection from a large gallery upstairs to a smaller space
downstairs, cutting the number of objects displayed, and substantially modifying the existing
downstairs space. Many choices had to be made, starting with the object list, levels of interpretation,and design modifications. The presentation will address how we dealt with these various issues.
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A Gallery Fit for a King: The Palace of Merenptah in Philadelphia
Kevin CAHAIL – Penn Museum, Philadelphia
When Clarence Stanley Fisher departed the Penn Museum in 1925, he left behind one of thelargest unfinished projects in the Museum’s history. At the end of his work at Memphis, the Egyptian
Government assigned to the Penn Museum both thousands of small objects as well as a significant
group of limestone architectural elements belonging to the Palace Complex of pharaoh Merenptah.
Alongside these objects, the Penn Museum’s Archives have kept a watchful eye over Fisher’soriginal archaeological records. While some of these objects and architecture have been displayedpreviously at the Penn Museum, the fact that Fisher never completed his final publication on any ofhis excavations means that there are still many outstanding questions about the Palace ofMerenptah. Now, a century after these objects arrived at the Museum, the Palace Complex ofMerenptah will be presented to future generations of museumgoers in their own redesigned galleries.
The reinstallation of the Palace Complex of Merenptah represents an ongoing collaboration
among Collections, Curation, Conservation, and Engineering. When the objects reached the Penn
Museum in the 1920’s, the upstairs gallery which had been designed to house them was found tohave insufficient floor structure to support their great weight. A complete engineering reassessmentof the Museum building itself in recent years concluded that some retrofitting of the upper floor would
easily allow it to carry the weight of the palace, giving us the green light to fulfill the dream of acentury to exhibit the ancient columns at their full height. To that end, the author has meticulously
poured through all of Fisher’s records to gain a much clearer picture of the Merenptah buildings andtheir historical and geographic contexts at Memphis. These discoveries have informed the artistry ofConservators who are carefully reassembling the fragmentary architecture. Finally, the exhibits teamhas come up with a way of presenting this architecture in a gallery setting, contextualizing theremains alongside small objects to tell a story of kingship in ancient Egypt, while at the same timeallowing the Merenptah buildings to speak to the visitor for themselves.

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Small-Format Temporary Exhibitions:
A Model for Optimising the Museum Collections
Luis Manuel GONZÁLVEZ & Maixaixa TAULÉ - Museu Egipci, Barcelona
The Museu Egipci de Barcelona holds one of the most important Egyptian collections in
Spain, which has been growing steadily since its creation in 1994. The space available for thepermanent exhibition and temporary exhibitions is currently insufficient. In this sense, some actions
have improved the situation: the replacement of individual showcases with collective showcases
containing works on the same theme, and the use of previously unoccupied areas or theincorporation of content through virtual media, such as augmented reality (AR), that do not require adefined space.
The museum's route takes us through these areas: The pharaoh, hieroglyphic writing, daily
life (arts and crafts, cosmetics), the myth of Osiris and funerary practices, and the cult of the gods. A
more than sufficient proposal to offer visitors a sound introductory approach to pharaonic Egypt.
Since 2016 the permanent exhibition has been complemented by small temporary exhibitions
using the Museum's own collections, which have allowed us:•

To renew and increase the contents while demonstrating the success and dynamism of theMuseum.

•To develop specific themes with other approaches and in greater depth than the permanent
exhibition allows.

•

To make use of the Museum’s collections. In some cases, the proposed exhibition has led tothe acquisition of a specific work necessary for the project.

•

To conceive, plan, and execute the projects in a reduced time frame and with a limited andhighly specialised team.

•Offering a "closed" product to entities interested in financing this type of cultural project.

•

Holding six temporary exhibitions in eight years (without the generalised health crisis during alarge part of this period there could have been one or two more).

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Renovations at the Hall of Ancient Egypt, Houston Museum of Natural Science
Tom HARDWICK – Consultant, Houston Museum of Natural Science

Despite opening in 2013, the Egyptian display at HMNS received a make-over in 2021 which
saw a wholesale replacement of lighting and the re-purposing of several parts of the space. These
are outlined and set against the background of HMNS and its display ethos.

Visible and Invisible Adaptions in the Egyptian Galleriesof the Kunsthistorisches Museum in Vienna — Past, Present and Future
Regina HÖLZL – Kunsthistorisches Museum, Vienna
Since the opening of the Kunsthistorisches Museum in Vienna in 1891 the Egyptian galleries
have constantly experienced adaptions and refurbishments. Not only were there architectural andtechnical modifications, but also considerable changes in regard to the display of the objects, to theirlabels, and to the tools for interactions between objects and visitors.
This paper will give an overview of the changes in the Egyptian galleries over the past 130
years. Special attention will be given to the refurbishments of the last 25 years — in particular the last
major re-installation of the collection (1999–2001) which also included the complete electrification of
the Egyptian galleries. During the last 10 years, further adaptions have been made, for example rearranging the objects from South Arabia and Mesopotamia as well as installing a ventilation system in
the galleries.
Presently we are focusing on safety issues — due to increasing numbers of visitors,
additional safety measures are implemented in the galleries to protect the objects.
Future tasks will also include the evaluation of the use of digital applications in connection with theoriginal objects on display.

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A Reimagined Setting for the New Funerary and Daily Life Galleries
Jennifer HOUSER WEGNER – Penn Museum, Philadelphia
For over 40 years, visitors to the Penn Museum were introduced to ancient Egyptian funerarypractices through the exhibit "The Egyptian Mummy: Secrets and Science," which was originallyintended as a temporary display. Located in a side room of the Upper Gallery, this exhibit wascomplemented by a small adjacent gallery featuring several cases with recreations of ancient
Egyptian tombs designed in the early 1970s. Additional funerary material, such as stone sarcophagi
and statuary, were displayed out of context in the main sculpture gallery on the upper floor. A paltry
assemblage of artifacts of daily life were presented in another side gallery within several small exhibit
cases with little to no didactic information.
The new reinstallation dedicates the entire Lower Gallery to Life and Afterlife in ancient Egypt.
Visitors will begin their journey via an atmospheric Nile River “experience,” with a walk-throughtimeline and interactive site map that emphasizes the Penn Museum’s work in Egypt over the past
century. Daily life will be explored in a side gallery, covering aspects such as personal piety, craft
production, professions, home life, and scribal traditions. The rest of the lower floor will focus on
ancient Egyptian preparations for the afterlife, presented chronologically to highlight changes in burial
practices. Notable displays will include the Old Kingdom tomb chapel of Kaipure and the inner andouter coffins of Ahanakht from Deir el-Bersheh. Emphasis will be placed on displaying funerary
artifacts in context, along with associated materials. The remains of eight individuals will also be
exhibited with their accompanying tomb goods, in accordance with Penn Museum’s recently
completed Human Remains Policy.

The Interaction of Display and Museum Education: The New Permanent Exhibitionof Ancient Egyptian Antiquities in the Szépművészeti Múzeum, Budapest
Katalin KÓTHAY, Gabriella DEMBITZ & Flóra KEVÉLY – Szépművészeti Múzeum, Budapest
The new permanent exhibition ‘Ancient Egypt’ in the Szépművészeti Múzeum was opened in
2018. The displayed material can be seen in rooms the reflect the spatial organization of ancient
Egyptian society (temple, spaces of daily life, tomb and the afterlife). The display of the Egyptian
objects is complemented by interactive screens and virtual display.

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Getting in Different Museums: The Exhibition Travel Pack
Nika LAVRENTYEVA – The Pushkin State Museum of Fine Arts, Moscow
Despite all the inconveniences of moving objects out of museum storerooms, they still need totravel from time to time. Sometimes they even have long exhibition tours through the country. The
exhibition “Mummies of Ancient Egypt: the art of immortality” developed by the Pushkin State
Museum of Fine Arts was a huge success in Moscow and was subsequently invited to visit the
Vladivostok, Novosibirsk, and Nizhny Novgorod museums. The museum had to choose the objects
that could travel and were stable enough to be moved several times across the long distances. In
each venue, the exhibition had to fit a different space and reinterpret its main ideas and strategies.
We also received different feedback from the public that gave the curators new understanding ofwhat they need to do. This paper explores some of these challenges and how they were overcome tocater to the different venues and their audiences.

Display Case Zero. Bringing Objects Back to Life
Isabel OLBÉS RUIZ DE ALDA – Museo Arqueológico Nacional, Madrid
The Museo Arqueológico Nacional, founded in 1867, exhibits in rooms 32–35 selected items
from its permanent collection, which comprises about 15,000 objects from Egypt, Nubia and the Near
East. However, there is a display case called Vitrina Cero (Display case Zero), at the entrance of theMuseum. It is a unique and singular space, that changes every three months, and allows us toaddress significant topics as well as a wide range of aspects of the Museum’s collections. This vitrine
has served our department on several occasions to display Egyptian and Nubian pieces, which havehelped us complete and complement the exhibition discourse of our rooms.
This vitrine allows us to explore collections that are kept in the storage areas and therefore
are not exposed to the public, as well as to deal with themes and research that arise from the studyof previous stages of the Museum. With the aim of giving visibility to our collections, four display
cases have been made over the last six years: “Masks and cartonnages of Egyptian mummies andtheir restoration” (2019), “Egyptian funerary amulets. Protection and magic in the Afterlife” (2021),“Reflections on ancient Nubia. A territory of contrasts through pottery” (2023), and in mid-October
2024 we will present “I had a dream…Alexandria”, focusing on the Ptolemaic dynasty.
Furthermore, these showcases allow us to collaborate very closely with other areas of ourmuseum, mainly the Conservation and Restoration, Communication and Outreach Departments.
15

Objects Found at the Heracleopolis Magna (Ehnasya El-Medina) Site, on Display in the
Permanent Exhibition Halls of the National Archaeological Museum in Madrid
M. Carmen PÉREZ-DIE – Museo Arqueológico Nacional, Madrid
The National Archaeological Museum is carrying out excavations at the site of Heracleopolis
Magna/Ehnasya el-Medina located in Middle Egypt. The work has taken place in two stages: the firstone between 1966 and 1982 under the direction of Almagro, and the second one from 1984 to 2023
directed by Pérez-Die. During the first stage it was possible to carry out the ‘partage des fouilles’
between Egypt and Spain and a good number of finds became part of the collections of the National
Archaeological Museum. The objects come from the necropolises of the First and Third Intermediate
Periods and from the temple of the local god Heryshef.
In 2008, on the occasion of the renovation of the Museum and the permanent exhibition halls,
many objects found at Heracleopolis Magna were selected for display, as they met all therequirements for exhibition: they have a precise archaeological context, a well-establishedchronology and, in some cases, they are unique and impossible to see in other museums.
Reliefs from the walls of the tombs of the First Intermediate Period showing scenes related tothe environment and daily life, false doors separating the rooms with objects belonging to the world of
the living from that of the dead, canopic vases, shabtis, models, all presented in their specific context
with drawings, photographs, and publications in accordance with the established museological plan,
have made Heracleópolis Magna one of the most relevant archaeological sites of Egypt excavated by
Spaniards that the visitors can know.

16New Showcases, New Challenges. A Window Opened to the Future
Esther PONS MELLADO – Museo Arqueológico Nacional, MadridThroughout these last three years, the Egyptian Antiquities and the Near East Department of
the Museo Arqueológico Nacional has carried out several renovations or changes in four of theshowcases located in the permanent exhibition.
The Coptic textiles, that were exhibited in room 33, showcase 6, have been removed, given
their fragility due their rich iconography, and in their place other similar textiles that until now were
kept in storage are displayed. A panel has also been removed from display case 7 so that theepigraphic pieces could be seen on both sides of the vitrine.
On the other hand, the old X-ray picture of Nespamedu's mummy, displayed in room 35,
showcase 4, has been replaced with four images of the CT scan carried out in 2016. In this way thevisitor can appreciate what this mummy "hides" including small plaques with images of divinities,
amulets, an Usej necklace, a winged Khepri diadem on the forehead, bangles and bracelets; and in
the display case 6 a magnificent polychrome helmet mask acquired by the State a few years ago has
been added.
Soon a new design will be made in display 1 so that it resembles an authentic funeralchamber, and likewise the double-lid coffin of showcase 3 will be correctly illuminated so that all its
rich polychromy can be appreciated.

17

Enhancing the Visitor Experience at the Egyptian Museum of Cairo:
A Multidimensional Approach
Eman Salah OMAR & Mohamed Gamal RASHED – Damietta UniversitylThis research proposes a comprehensive framework for the exhibition, access, andinterpretation strategy at the Egyptian Museum of Cairo. Most Egyptian museums lack policies for
exhibition and access, which are crucial for developing interpretation and access strategies that fulfill
the museum's mission and meet the needs of visitors, users, and scholars. Adopting these policies
and strategies will help achieve the museum's goals in reaching and engaging various visitor
segments, overcoming obstacles to researchers' access to information, and enhancing the visitor
experience by providing deeper levels of access, interpretation, object handling, and circulation of
information about collections.
Research Matters: The Egyptian Museum seeks a policy and strategy for exhibition,interpretation, and access that enhances visitor and user engagement effectively. Goal: Establish an
exhibition, access, and interpretation strategy based on evaluating the current state of permanent
exhibits and visitor experiences, their needs, and interests. Objective: Establish an exhibition, access,and interpretation strategy to support the following factors:
Access: Developing methods to enhance accessibility for visitors and users, considering
physical and cultural barriers. This strategy aims to break barriers for visitors and individuals withspecial needs, as well as cultural and geographical barriers, by introducing more effective
interpretation techniques and developing digital remote access tools.
Interpretation: Providing deeper and more varied contexts for exhibitions and collections.
Emphasis will be placed on expanding the use of interactive exhibitions, multimedia elements, andcurated storytelling to enrich understanding of ancient Egyptian civilization. This includes enhancing
the connection of exhibits and artifacts with classroom educational programs and promoting thesustainability of cultural traditions and crafts.
Exhibition Methods: Incorporating a variety of methods and modes of display, taking into
account visitor flow and the wide range of interests and needs of visitors. Moreover, strategies forrotating exhibits and periodically highlighting lesser-known collections through temporary displays or
adopting dynamic changeable permanent displays that can accommodate a relative change ofexhibits should be considered.
Implementing a multidimensional approach will enable the Egyptian Museum to transform into
an inclusive and engaging space, adopting a new approach based on inclusion, diversity, andsustainability.

18

Reduce, re-use, recycle: an application of circular economy in the managementof museum storage in the Museums of Milan Municipality
Anna Maria RAVAGNAN, Laura ALDOVINI, M. Cristina VANNINI,
Danusa CASTRO & Cristina MANASSE – ICOM Italia, Coordinamento Lombardia
The management of collections in museum storage cannot ignore the effective organization ofwhat is necessary to prepare an exhibition, i.e., the supports, panels, caption holders, display cases,
lighting devices, etc. These materials, created for a temporary or permanent exhibition, however,often have a lifespan that is linked to the trends of the moment, to the exhibition dynamics and to theevents the museum organizes, and therefore, are independent from their efficiency, effectiveness,wear and tear. Where are those materials stored? Do museums have control and knowledge of all
exhibition fittings they own? Could they be reused? These are the questions to which the Working
Group formed within the Regional Coordination of ICOM Lombardy, has tried to answer byconducting a survey on good environmental sustainability practices related to museum exhibitions.
The opportunity arose through a collaborative agreement between ICOM Italia and theMunicipality of Milan. The Working Group, in partnership with the curators of the civic museums,
developed and tested a form to gather data on the exhibition apparatus stored in the deposits.

Recent Achievements and Further Thoughts:
The Egyptian Department at The Louvre Between Two Centenaries
Vincent RONDOT – Le Louvre, Paris
Progressively and since some years now, the Egyptian Department at the Louvre Museum
works on the renewal of its permanent exhibition of the collections. As with other European Egyptiancollections, this was done between the anniversary of the decipherment of hieroglyphs in 1822 andthe date of the creation at the Louvre of the Egyptian Museum itself in 1827. Issues at the scale ofthe museum as a historical palace, issues regarding the conservation itself of some of the mostfragile artefacts, and above all issues of mediation for a civilization that demands explanations andwhich, having the solid reputation of being mysterious, balances between a tradition of fascinationand the plain description of cultural as well as historical facts.

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Disseminating the Egyptian Collection of the MAN:New Formats and Challenges for Telling Millenary Stories
Maria Jesús RUBIO VISIERS, Débora SONLLEVA JIMÉNEZ & Mercedes FONSECA CERRO
Museo Arqueológico Nacional, Madrid
The Outreach Department of the National Archaeological Museum (MAN) plays a principalrole in promoting the museum's various collections, including those from ancient Egypt and Nubia.
MAN's work is distinguished by innovation and the constant design of activities aimed at knowledge
acquisition through participatory methodologies that encourage curiosity, discovery, teamwork, andplay.
Our audience is very diverse and includes school groups, young people, adults, families, theelderly people and groups with special needs.
Among our educational initiatives, we highlight the online resources offered by our MAN
Virtual Classroom tool, as well as some of the in-person activities focused on ancient Egypt, such as
school workshops, visits to the tomb of Queen Nefertari in relation with to rebirth to a new life, or the
dynamic visits about the music of the ancient Mediterranean.
In the field of cultural action, the museum organizes regular activities ranging from lectures,
courses, and conferences, to guided tours for adults, dramatized storytelling for families, and various
educational materials, as well as extraordinary activities for specific dates, among which we highlightsome of our latest proposals: hieroglyph workshops, combined MAN+DEBOD visits, and historicalfilm cycles.
Recently, taking advantage of the tactile station installed in the Egypt rooms, the museum has
expanded the offer of guided tours for visually impaired individuals, allowing diverse audiences toenjoy an inclusive museum experience.

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Creating ancient Egypt in the middle of the remnant of Yayoi culture
Keiko TAZAWA – The Ancient Orient Museum, Tokyo
This paper reports on a case study of a special exhibition on ancient Egypt, consisting mainlyof the Egyptian collections and their supplementary materials, and educational programmes of The
Ancient Orient Museum, Tokyo (AOM), held at a museum with a completely different research theme.
The venue, The Osaka Prefectural Museum of Yayoi Culture, is a museum specializing in the cultureof Japan's Yayoi period (generally considered to date from around 300 BC to 300 AD), which opened
in 1992 and is located adjacent to the Ikegami-Sone site, a well-known historical site of the Yayoi
period. The museum not only displays Yayoi period artefacts, but also serves as a guidance facility
for the Ikegami-Sone site.
AOM loaned almost all of the museum's real ancient Egyptian objects, as well as replicas andphotographic panels taken in the Theban area and hands-on goods, and it also borrowed ancient
Egyptian materials from Tokai University and the Tenri University Sankokan Museum for theexhibition. In addition to presenting what ancient Egypt was like, this exhibition, held in 2018,
introduced ongoing research activities.
By introducing ancient Egyptian objects and supplementary objects by theme, such as
religion, language, crafts, diet, fashion, materials and the afterlife, AOM was able to discover newvalues in its objects, which could only be displayed in a general chronological order due to space
limitations in the original place in Tokyo.

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Preliminary Plans for the New African and Egyptian Galleries
at the Field Museum, Chicago
Emily TEETER – Research Associate, The Field Museum, Chicago
In spring 2024, the Field Museum issued requests for proposals (RFP) for 22,000 s/f galleriesof Africa and Egypt to be completed in 2027. The overarching theme will be Africa as the birthplace ofhuman culture.
Presently, the Africa gallery is experiential, and takes the form of a walk through a village,
while the Egyptian galleries are object-driven.
This paper will show the present state of the African and the Egyptian galleries and discuss
the preliminary conversations of how Egypt can be presented within a more African context, taking
into account the issues of geography and chronology.
The RFPs called for specific solutions to the display of the Dahshur boat of Senwosert III, thesmall mastaba chapel of Netcher-User from Saqqara, and Great Zimbabwe, the latter a site for which
the museum has no objects.
This will be the first major reinstallation of the Egyptian gallery since 1987. The Egyptiancollection is comprised of about 7,000 objects. Highlights include two mastaba chapels from Saqqara,
twenty-three coffins (MK–Roman), several stone sarcophagi, a very fine collection of Coptic textiles,
New Kingdom statuary (including Senenmut, Montuemhet, and Sekhmet), and several Roman
mummy shrouds. Most of the collection was purchased in Egypt (much of it with the advice of Emile
Brugsch), in the late 1890s and early 20th century by Edward Ayer, the first president of the museum.
Other objects came through subscription to the EEF, and others with the advice of James H.
Breasted.

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Ancient Artefacts — A Refurbished Building:

The Lisboa Pharmacy Museum Egyptian Collection
Paula VEIGA – Consultant, The Lisboa Pharmacy Museum
This Egyptian collection is part of the collection housed in what is today the headquarters of
the National Association of Pharmacies. The Palace was built in 1862, where the parish church ofSanta Catarina stood before the 1755 earthquake. The property was acquired in 1990 by the
Association to become their headquarters, and in June 1996, the Pharmacy Museum wasinaugurated, receiving the award for Best Portuguese Museum that same year. In 1999, the museum
also received the Pharmaceutical Project award. Director and deputy director of the Museum, JoãoNeto and Paula Basso, started the collection with the nuclei of Portuguese pharmacy (donated pieces
between 1981 and 1996); a total of 9000 pieces. The collection includes a complete 18th century
Portuguese pharmacy, coming from Paço de Sousa, a former monastery. All the pharmacy pieces
were acquired by Manuel Rodrigues Barbosa, who worked as a pharmacist in the monastery's
apothecary, when religious orders were extinguished in Portugal, and the items were put up forauction (1834). He opened the Pharmacy in the village of Paço de Sousa, and the Barbosa pharmacy
operated until 1992, when its contents were acquired by the Pharmacy Museum.
The collection also includes a pharmacy from Macau, acquired when China was planning forPortugal to leave Macau's administration, as it was going to be dismantled. For ten years themuseum directors endured the intensive arrival of boxes, being ever since just happy to manage it.
The items in the Egyptian Collection were all acquired in international auctions, and they include PreDynastic Naqada II black-topped vases and cosmetic schist palettes; an OK alabaster vase; a MK
basalt cosmetic jar; a schist/amphibolite mortar and pestle; NK weights; vases; a cosmetic black
steatite spoon; faience vases, a limestone inscribed statuette (Hui) the preparer of unguents; a TIP
Basalt Sekhmet head; a LP sarcophagus; amulets, statuettes, canopic jars; a Horus cippus; a painted
wood canopic box, and a RP situla.

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Adapting a Century-Old Museum: Reinstallation of the Penn Museum's Egyptian Wing
Josef WEGNER, Jennifer HOUSER WEGNER & Kevin CAHAIL – Penn Museum, Philadelphia
The Eckley Coxe Egyptian Wing of the University of Pennsylvania Museum of Archaeology
and Anthropology (Penn Museum) opened in 1926, designed to house the large and growing
archaeological collection in Philadelphia. The wing, designed by Wilson Eyre, Cope, and Stewardson
architects, consisted of two levels arranged around two larger central halls, “Upper Egypt” and “Lower
Egypt.” A major design feature of the wing was the unusually high (18.5 m) ceiling for the main Upper
Hall, which was intended by the architects to house reconstructed architecture from the palace ofMerenptah at Memphis. Due to engineering and floor loading concerns surrounding the large
architecture, the palace was displayed only in a group of disassembled elements in the Lower Hall.
As part of a more than two-decade planning process, the Penn Museum is now in the implementation
phase of a comprehensive reinstallation of the Coxe Wing, part of which includes reconstructing thelarge architectural elements of the Merenptah Palace (doorways columns and the structure known as
the ‘South Portal’), as originally planned in the Upper Egypt hall.
This redesign is guided by the historical nature of the Coxe Wing as well as its spatialconnections to other sections of the larger museum. The reworking of the Coxe Wing — the “Ancient
Egypt and Nubia” project — includes eight fully redesigned galleries, four on each level as well as aredeveloped storage and teaching/study area below the public spaces. Working within theparameters of the original building, the reinstallation project (including Penn Museum curatorial,
exhibits and conservation team working with Haley Sharpe Design, Gluckman Tang architects) has
been guided by realizing the original intent of the Coxe Wing, but also enhancing the access, flow
and thematic arrangements to display a much larger proportion of the Penn Museum’s ca. 55,000
objects from the Nile Valley.

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Old Spaces Revived: The New Nubia Galleries
Josef WEGNER – Penn Museum, Philadelphia
The University of Pennsylvania Museum houses a collection of 8,000 objects from both Lower
and Upper Nubia. This collection derives from the Coxe Nubian Expedition excavations at Areika,
Shablul, Karanog, Aniba and Buhen, as well as substantial groups of material from the PennsylvaniaYale salvage excavations at Arminna, Toshka, and other sites during the 1960s. The core collection
was augmented in the 1990s with permanent exchange of material from the Harvard-Museum of Fine
Arts excavations at Kerma, El-Kurru, Nuri, and Meroe. Although select groups of the collection havebeen on display in the past, the Museum has never had the benefit of permanent galleries dedicatedto the Nubian materials. Particularly significant in this regard are the unusually rich groups of Meroitic
materials from Shablul and the town and cemetery of Karanog.
As part of the Coxe Wing reinstallation, two adjacent galleries that have been closed to the
public for more than a half century are now in the process of being refurbished to house the Nubiancollection. The first gallery explores the development of Nubian cultures and Egyptian interaction
from the Neolithic through the New Kingdom. The second gallery presents the development of Nubia
from the Napatan through post-Meroitic and early Christian periods and showcases the Karanog
collections. Although the display of the Penn Museum’s Nubian collections would theoretically benefit
from larger, newer gallery spaces, the potentials of these two reconfigured spaces within the existing
Coxe Wing has provided the opportunity for ways to present the museum’s Nubian collections inintimate spaces that link the presentation of Egypt and Nubia through time.

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Capability for Collections:
Refurbishing Petrie Museum storage for the long-term future of the collection
Catriona WILSON – The Petrie Collection of Egyptian and Sudanese Archaeology (UCL), London
Intended as a temporary measure following the Second World War, UCL’s Petrie Museum
moved into a former stable block in Malet Place, London, in the late 1940s, yet remains here today.
While visually impactful and attractive, the Museum’s historic display and storage furniture presents
challenges for collections care.
Historic storage predominantly comprises hardwood cupboards lined with sheets of plastic,
and wooden drawers with plastic and wooden bases. Situated within the Museum’s galleries, these
are thought to date back as far as 1949, designed by the then-curator, Anthony Arkell, who previously
arranged the installation of similar cupboards in the National Museum of Sudan in Khartoum1. Tests
carried out by our conservators found that the drawers were off-gassing harmful compounds andseveral drawers showed signs of cracking.
This paper will present a summary of a three-year programme to re-house collections into
conservation-grade cabinets that extend the Museum’s ‘visible storage’ display style and can betransferred should the Museum’s long-term aim of securing new premises come to fruition.
Across three phases of the project, this work entailed 40,000 item movements including therehousing of 15,000 objects and 150 bundles of archives — nearly 20% of the collection. We
upgraded the air handling system throughout the Museum and renovated three collections spaces (acollections conservation workshop, storage area, and a room dedicated to collections research
activity), greatly improving our ability to effectively care for and use the collection.
This award-winning project was funded by substantial internal investment from UCL as well as
AHRC ‘Capability for Collections Fund’ (CapCo), launched in September 2020 to support a series oftargeted, capital investments to renew and upgrade research facilities within UK galleries, libraries,
archives, and museums.

1

Garnett, A. (2019), Sudan and the Petrie Museum: Histories of Display, Scholarship and Engagement. Archaeology
International, 22(1), pp. 66–71. DOI: https://doi.org/10.5334/ai-400.

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CIPEG GRANTS
Abstracts

Elephantine Museum: 1910s-1950s
Hend Mohamed ABDEL RAHMAN – Minia University, Minia
Regional museums were the suggested solution in Egypt to accommodate large quantities ofthe excavated antiquities in Egypt. Maspero encouraged a number of regional museum projects.
Some of them depended on municipal councils to survive. Unfortunately, most of these museums did
not last long, but the Elephantine Museum was an exception, both in its foundation and its survival. In
1912, it was established in the rest house of Sir William Willcocks, famous British engineer andarchitect of the old Aswan Dam. It is the only regional museum that survived and still can be seen.
The story of the Elephantine Museum is a distinguished one because of its long life, and it
requires investigation and clarification. The development of the museum and the persistent original
features can be seen in the Elephantine Museum. Its importance as a tourist destination during the20th century, based on the feedback from visitors, should be considered as a starting point for further
development of the museum.

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Enriching Museum Visits:
A Study of Interactive Treasure Hunts in Museums Showcasing Ancient Egyptian Artefacts
Yasmine AFRAM – Universitat Autónoma de Barcelona (UAB)
This study is a part of my PhD thesis titled "Sensory and Experiential Visits to Museums
Specializing in Ancient Egyptian Artefacts" at the Universitat Autónoma de Barcelona (UAB). It
presents a focused exploration on enhancing museum experiences, particularly in institutions
housing ancient Egyptian artefacts, through the implementation of interactive treasure hunts as ameans to engage visitors. While acknowledging the existence of similar initiatives in certain
museums, this project offers a humble exploration of the effectiveness of sensory and experiential
visits in conveying Egyptology to a broader audience.
Central to this endeavor is the implementation of a treasure hunt activity within museum
spaces where participants decode messages to navigate the exhibition halls and discover information
about significant ancient Egyptian figures and artefacts. Having conducted six treasure hunts forstudent groups aged between 9 and 19 at the Egyptian Museum in Cairo, this study offers a reflective
analysis of the process, including both positive outcomes and challenges encountered.
By examining the methodology and outcomes of these interactive engagements, thiscommunication aims to contribute a nuanced perspective to the ongoing conversation on public
engagement strategies in museums. Emphasizing a grounded approach, this study offers practicalinsights into the potential of interactive activities to enrich the museum experience and foster a
deeper connection with the rich cultural heritage of ancient Egypt. Interactive experiences with
Egyptian artifacts offer visitors a comprehensive learning opportunity. Through activities like treasurehunts, visitors not only learn about the historical significance of the artifacts but also gain a hands-on
understanding of ancient Egyptian society and culture. This immersion fosters a deeper connection
with the artifacts, enriching the museum experience.

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In the Shadow of the Printed Hieroglyphs: Narrating the History of the Printing Atelier
Museum of the French Institute of Oriental Archaeology in Cairo
Mennah ALY – Ministry of Tourism and Antiquities, Egypt
Fadi ROCHDI – IFAO, Print Atelier Museum, Cairo
Since its foundation in 1880, the Institut français d'archéologie orientale (IFAO), the FrenchInstitute of Oriental Archaeology in Cairo, is the oldest institution that researches, studies and helps
promote and preserve the Egyptian heritage from the prehistoric era until the twenty-first century.
Since 1898, and in cooperation with the Supreme Council of Antiquities, the IFAO started its
archaeological missions in various sites, which resulted in valuable Egyptological discoveries,
research and hence publications.
With the growing interest to unearth, study and safeguard the Egyptian heritage, theEgyptological scientific community needed to document and disseminate their research. Responding
to this need, the IFAO Printing Atelier was established in 1898 and was finally installed in its current
place in Mounira Palace in 1907, as a result of the efforts of the famous Egyptologists Gaston
Maspero and Émile Chassinat. Now functioning as a museum, the IFAO Printing Atelier stands to thisday as a grandiose testimony to the exerted efforts to make the hieroglyphs inscribed on the walls of
the ancient Egyptian monuments and the Egyptian collections exhibited in the world’s museums
accessible to, and safeguarded for, future generations.
The IFAO Printing Atelier Museum’s ancient printing machine, the lead plates witnessing thefirst attempts to print the hieroglyphic texts inscribed on ancient Egyptian monuments andphotographs documenting its history, all narrates the history of the printed Egyptology from its earliest
stages until our modern and contemporary times.
This research presents the history of the IFAO Printing Atelier Museum, which is still
functioning as a press, and showcases the transformation of its venue, collection and exhibition
through the consecutive eras, as well as presenting its role in promoting and safeguarding theEgyptian heritage.

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Imhotep Museum on focus
Mamdouh FAROUK MOHAMED – Imhotep Museum, Saqqara
The Imhotep Museum is considered a site museum and exhibits finds discovered at Saqqara.
It was opened in 2006, and has recently suffered from infrastructure problems and from a lack ofpromotion. Since it joined the museum sector in 2021, there has been a renewed interest to increase
its cultural, archaeological, and economic impact. So, I proposed a project to its stakeholders torefurbish and renovate the museum and to increase its efficiency.
This paper focuses on the project of which 75% percent has been executed, as a first stage,
with a budget estimated at 48 million Egyptian pounds. I also intend to propose a second stage thatwill provide the museum with enhanced technology, and more services.
The renovation project began on March 15 2022. It increased the efficiency of theinfrastructure, adding portable water, drainage and electricity lines, a central air conditioning unit,
security systems, renovating the eastern stone wall to protect the museum’s open court from climatechange, and equipping a restoration laboratory.
Visitor services have been enhanced by improved signage, better accessibility for thedisabled, a gift shop, a new brochure, and launching a QR-code project. The museum displays were
updated, by creating new labels and panels with graphics, a new lighting system for outside andwithin showcases, new mounts, and a new selection of objects such as mummified animals, ritual
tools, and a temporary exhibition on the excavations of the Bubasteion site in Saqqara.
The porposed second phase includes providing the museum with a projection system tointerpret some objects, and creating a sound and light show on King Djoser in the Visual Setting Hall.

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Development management plan for Anthropological Museum at Cairo University
Aliaa RAAFAT YOUSSEF - Grand Egyptian Museum, Giza
Anthropology studies humans in the past and present through society, culture, and humanbiology. The Anthropological Museum displays artefacts that are dedicated to the culture and societyof humans over time.
Despite the importance of anthropology in studying human cultures and societies, there is alack of awareness about anthropology in Egypt. This lack of awareness extends to anthropologicalmuseums, which face challenges in their management, preservation, display, interpretation, andcommunity engagement.
The absence of a specific management plan for these museums within the university
community highlights the missed opportunity to utilize them as central hubs for interdisciplinary
research and collaboration across various academic disciplines.
Furthermore, there is a misunderstanding between anthropological and ethnographic
museums because of the absence of classification for their collections. While ethnography focuses
on studying specific societies' cultures, anthropology takes a holistic approach, exploring humancultural, social, and biological diversity.
This research will study the current state of anthropological museums in Egypt focusing on
the museum of the Faculty of African Studies at Cairo University. The museum was chosen as thecase study as it highlights the history and relationship between Egypt and African countries through a
deep understanding of cultural heritage in African societies to raise awareness about their cultural
heritage.
The research will propose practical solutions for developing a management plan to transformthe museum into a vibrant hub of learning and cultural exchange.

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Using simulation in the development of museum display.
The Graeco-Roman Museum in Alexandria Egypt as a model
May RASHAD ABDELLATIF & Reham REFAE – Graeco-Roman Museum, Alexandria
Simulation is one of the interactive display methods in museums, and museums use thesimulation method to enrich museum exhibits by building some elements that help in the contextual
understanding of artifacts. This method is one of the important methods to attract attention andshowcase the collections in an interesting way, which helps in communicating the vision and missionof the museum. This method also enables visitors to learn additional information about artifacts.
The Graeco-Roman Museum in Alexandria is the second oldest museum in Egypt, and thefirst building specifically established to be a museum. The Graeco-Roman Museum was first built in
1892, and the current building was built in 1895. The museum was closed for development in 2005,
and the development of the museum relied on the use of new display methods that help inunderstanding the artifacts in their archaeological context and connect them to their archaeologicalsite, so the simulation method was used in the new museum display, such as simulations of abanquet room (Triclinium), a Roman house, the agora, such as simulations of a Roman ship.
The objective of the research is to measure visitors’ interaction with the new display and thesimulation and the extent of their understanding and response to the idea of development. We apply
it by using a questionnaire and personal interviews with some visitors and specialists. As a result, we
will measure whether the new display is effective and has positive response with visitors or if it needs
adding information such as labels, screens, and banners.

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Rediscovering Daily Life:The Transformation of Gallery P34 in the Egyptian Museum in Cairo
Norhan SALEM – Egyptian Museum, Cairo
Asmaa AHMED MEAWED & Heba KHAIRY METWALY – Grand Egyptian Museum, Giza
The evolution of theoretical museology has significantly impacted collection management andthe practices of permanent displays in Egyptian museums, particularly at the Egyptian Museum in
Cairo. Gallery P34 exemplifies this influence, featuring a thoughtfully curated series of themes
focused on ancient Egyptian daily life, divided into domestic and practical aspects. These aspects areillustrated through well-organized sub-themes: musical instruments, cosmetic materials, games,
boomerangs and hunting sticks, weights and scales, carpentry tools, agricultural tools, building tools,
women's statues, sewing, kitchen, and surgical tools. Until 2022, Gallery P34 maintained a traditional
format without any modernization or updates.
This paper explores the transformation of Gallery P34 through its 2022 development projectproviding an in-depth review of the collaborative efforts in artefact selection from display and storage,
mounting, installation, and the use of interpretive tools. It aims to present a detailed case study of thefactors that shaped this museum redisplay project, examining its scope and recognizing theAustralian Embassy in Egypt's crucial financial support and efforts in revitalizing Gallery P34.

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Tutankhamun Reimagined: Bridging Ancient Legacy and Modern Identity
Heba KHAIRY METWALY – Grand Egyptian Museum, Giza
Tutankhamun's reign as an Egyptian pharaoh lasted around nine years (about 1336–1327
BC), but his legacy continues to shine centuries later. The 1922 discovery of his tomb in Egypt
brought his story to the world. Much was learned from the nearly intact tomb, which included
thousands of objects. Due to his short reign, Tutankhamun did not have a great impact on society
during his lifetime. But this did not prevent him from becoming one of the most well-known ancient
Egyptian kings, a poster boy for pharaonic times.
In 2022, the British Museum commemorated the centenary of the discovery of the tomb of
Tutankhamun by creating a modern dialogue between what is inherited from his legacy and how it
continues to be represented in a modern manner within Egyptian society and its reflections on ouridentity as Egyptians.
This paper aims to shed light on the temporary exhibition developed in 2022 by the British
Museum and how this exhibition reimagined and redisplayed the collection of King Tut and his
continued legacy.

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