KV62 is the tomb of Tutankhamun in the Valley of the Kings (Egypt), which became famous for the wealth of treasure it contained. The tomb was discovered in 1922 by Howard Carter, underneath the remains of workmen's huts built during the Ramesside Period; this explains why it was spared from the worst of the tomb depredations of that time. KV is an abbreviation for the Valley of the Kings, followed by a number to designate individual tombs in the Valley.

The tomb was densely packed with items in great disarray. Carter was able to photograph garlands of flowers, which disintegrated when touched. Due to the state of the tomb, and to Carter's meticulous recording technique, the tomb took nearly a decade to empty, the contents all being transported to the Egyptian Museum in Cairo.

Tutankhamun's tomb had been entered at least twice, not long after he was buried and well before Carter's discovery. The outermost doors of the shrines enclosing the king's nested coffins were left opened, and unsealed. It is estimated that 60% of the jewellery which had been stored in the "Treasury" was removed as well. After one of these ancient robberies, embalming materials from KV62 are believed to have been buried at KV54.

Discovery of the tomb

In 1907, just before his discovery of the tomb of Horemheb, Theodore M. Davis's team uncovered a small site containing funerary artifacts with Tutankhamun's name. Assuming that this site, identified as KV54, was Tutankhamun's complete tomb, Davis concluded the dig. The details of both findings are documented in Davis's 1912 publication, ''The Tombs of Harmhabi and Touatânkhamanou''; the book closes with the comment, "I fear that the Valley of the Kings is now exhausted." But Davis was to be proven spectacularly wrong.

The British Egyptologist Howard Carter (employed by Lord Carnarvon) hired a crew to help him excavate at the site of KV62. A few weeks into the dig, Howard Carter had asked a page boy to fetch some water, he had done so, and then being bored and with nothing else to do, started to dig in the sand with a stick. He then uncovered a small stone, which he revealed to be a stone step. He called Howard Carter over, and soon the entire group were there excavating. They discovered a flight of steps leading down to a sealed door. Howard Carter made a hole in the door, struck a match, discovering that the air had oxygen inside, went in. The chamber that they found was bare, but Howard Carter was convinced that there must be a secret chamber. He searched the walls and found it, it was filled with all manner of treasures and statues. He had discovered Tutankhamun's tomb (since designated KV62) in the Valley of the Kings on November 4, 1922, near the entrance to the tomb of Ramesses VI, thereby setting off a renewed interest in all things Egyptian in the modern world. Carter contacted his patron, and on November 26 that year, both men became the first people to enter Tutankhamun's tomb in over 3000 years. After many weeks of careful excavation, on February 16, 1923, Carter opened the inner chamber and first saw the sarcophagus of Tutankhamun. All of this was conveyed to the public by H. V. Morton, the only journalist allowed on the scene.

Investigation

The first step to the stairs was found on November 4, 1922. The following day saw the exposure of a complete staircase. The end of November saw access to the Antechamber and the discovery of the Annex, and then the Burial Chamber and Treasury.

On November 29, the tomb was officially opened, and the first announcement and press conference followed the next day. The first item was removed from the tomb on December 27.

February 16, 1923 saw the official opening of the Burial Chamber, and April 5 saw the death of Lord Carnarvon.

On February 12, 1924, the granite lid of the sarcophagus was raised. In April, Carter argued with the Antiquities Service, and left the excavation for the United States.

In January 1925, Carter resumed activities in the tomb, and on October 13, he removed the cover of the first sarcophagus; on October 23, he removed the cover of the second sarcophagus; on October 28, the team removed the cover of the final sarcophagus and exposed the mummy; and on November 11, the examination of the remains of Tutankhamun started.

Work started in the Treasury on October 24, 1926, and between October 30 and December 15, 1927, the Annex was emptied and examined.

On November 10, 1930, eight years after the discovery, the last objects were finally removed from the tomb of the long lost Pharaoh.

Layout of tomb

In design, the tomb appears to have originally been intended for a private individual, not for royalty. There is some evidence to suggest that the tomb was adapted for a royal occupant during its excavation. This may be supported by the fact that only the burial chamber walls were decorated, unlike royal tombs in which nearly all walls were painted with scenes from the ''Book of the Dead.''

Staircase

Starting from a small, level platform, 16 steps descend to the first doorway, which was sealed and plastered – although it had been penetrated by grave robbers at least twice.

Entrance corridor

Beyond the first doorway, a descending corridor leads to the second sealed door, and into the room that Carter described as the Antechamber. This was used originally to hold material left over from the funeral and material associated with the embalming of the king, after the initial robberies this material was either moved into the tomb proper, or moved to KV54.

Antechamber

The undecorated Antechamber was found to be in a state of "organized chaos" and contained approximately 700 objects (articles 14 to 171 in the Carter catalogue) amongst which were three funeral beds, plates in shape of Hippopotamus (the Goddess Tawaret), of lion (or leopards) and cattle (the Goddess Hathor). Perhaps the most remarkable item in this room were the components, stacked, of four chariots of which one was probably used for hunting, one for "war" and another two for parades. Many of the "700" objects were made of gold.

Burial chamber

Decoration

This is the only decorated chamber in the tomb, with scenes from the Opening of the Mouth ritual (showing Ay, Tutankhamun's successor acting as the king's son, despite being older than he is) and Tutankhamun with the goddess Nut on the north wall, the first hour of Amduat (on the west wall), spell one of the Book of the Dead (on the east wall) and representations of the king with various deities (Anubis, Isis, Hathor and others now destroyed) on the south wall. The north wall shows Tutankhamen being followed by his Ka, being welcomed to the underworld by Osiris.

Some of the treasures in Tutankhamun's tomb are noted for their apparent departure from traditional depictions of the boy king. Certain cartouches where a king's name should appear have been altered, as if to reuse the property of a previous pharaoh—as often occurred. However, this instance may simply be the product of "updating" the artifacts to reflect the shift from Tutankh''aten'' to Tutankh''amun''. Other differences are less easy to explain, such as the older, more angular facial features of the middle coffin and canopic coffinettes. The most widely accepted theory for these latter variations is that the items were originally intended for ''Smenkhkare'', who may or may not be the mysterious KV55 mummy. This mummy, according to craniological examinations, bears a striking first-order (father-to-son, brother-to-brother) relationship to Tutankhamun.

Contents

The entire chamber was occupied by a series of gilded wooden shrines which surrounded the king's sarcophagus. The outer shrine ([1] in the cross-section) measured 5.08 x 3.28 x 2.75 m and 32 mm thick, almost entirely filling the room, with only 60 cm at either end and less than 30 cm on the sides. Outside of the shrines were 11 paddles for the "solar boat", containers for scents, and lamps decorated with images of the God Hapi.

The fourth and last shrine ([4]) was 2.90 m long and 1.48 m wide. The wall decorations depict the king's funeral procession, and Nut was painted on the ceiling, "embracing" the sarcophagus with her wings.

This sarcophagus was constructed in granite ([a] in the cross-section). Each corner of the main body and lid were carved from stone of different colours. It appears to have been constructed for another owner, but then recarved for Tutankhamen; the identity of the original owner is not preserved. In each corner a protective goddess (Isis, Nephthys, Serket and Neith) guards the body.

Inside, the king's body was placed within three mummiform coffins, the outer two made of gilded wood while the innermost was composed of 110.4 kg of pure gold. The mummy itself was adorned with a gold mask, mummy bands and other funerary items. The funerary mask is made of gold, inlaid with lapis lazuli, carnelian, quartz, obsidian, turquoise and glass and faience, and weighs 11 kg.

Treasury

The treasury (worth almost $50,000 million in 2010 prices) was the burial chamber's only side-room and was accessible by an unblocked doorway. It contained over 5,000 catalogued objects, most of them funerary and ritual in nature. The two largest objects found in this room were the king's elaborate canopic chest and a large statue of Anubis. Other items included numerous shrines containing gilded statuettes of the king and deities, model boats and two more chariots. This room also held two mummies of foetuses that some consider to have been stillborn offspring of the King.

Annex

The 'Annex', originally used to store oils, ointments, scents, foods and wine, was the last room to be cleared, from the end of October 1927 to the spring of 1928. Although quite small in size, it contained approximately 280 groups of objects, totaling more than 2,000 individual pieces.

Present day

As of 2007, the tomb is open for visitors, at an additional charge above that of the price of general access to the Valley of the Kings. The number of visitors is limited to 400 per day, as of May 2008.

As of 2009, an online recreation of KV62 can also be explored via the Heritage Key virtual experience.

See also

''Of Time, Tombs and Treasures'', a 1977 documentary film about the discovery of KV62.

Bibliography

''The Discovery of the Tomb of Tutankhamen'', by Howard Carter, Arthur C. Mace.

''The Complete Tutankhamun: The King, the Tomb, the Royal Treasure'', by C. N. Reeves, Nicholas Reeves, Richard H. Wilkinson.

Reeves, N & Wilkinson, R.H. The Complete Valley of the Kings, 1996, Thames and Hudson, London

Siliotti, A. Guide to the Valley of the Kings and to the Theban Necropolises and Temples, 1996, A.A. Gaddis, Cairo

References

External links

Plans of the tomb and other details Theban Mapping Project

Burton's images of the tomb from The Howard Carter Archives Griffith Institute

Tutankhamun: Anatomy of an Excavation Griffith Institute

John Lawton, ''The last survivor'', 1981, Saudi Aramco World

Category:14th-century BC architecture Category:Valley of the Kings

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Wolfgang Amadeus Mozart (, English see fn.), baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers.

Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the ''Requiem'', which was largely unfinished at the time of Mozart's death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.

Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

Biography

Family and early years

Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart at 9 Getreidegasse in Salzburg, capital of the sovereign Archbishopric of Salzburg in what is now Austria, but then was part of the Holy Roman Empire. His only sibling to survive infancy was his elder sister Maria Anna (1751–1829), nicknamed "Nannerl". Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as ''Joannes Chrysostomus Wolfgangus Theophilus Mozart''. He generally called himself "Wolfgang Amadè Mozart" as an adult, but there were many variants.

His father (1719–1787) was from Augsburg. He was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg, a minor composer, and an experienced teacher. In the year of Mozart's birth, his father published a violin textbook, ''Versuch einer gründlichen Violinschule'', which achieved success.

When Nannerl was seven, she began keyboard lessons with her father while her three-year-old brother would look on. Years later, after her brother's death, she reminisced:

He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five, he was already composing little pieces, which he played to his father who wrote them down.

These early pieces, K. 1–5, were recorded in the ''Nannerl Notenbuch''.

Biographer Maynard Solomon notes that, while Mozart's father was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught. His first ink-spattered composition and his precocious efforts with the violin were of his own initiative and came as a surprise to his father. Mozart's father eventually gave up composing when his son's musical talents became evident. In his early years, Mozart's father was his only teacher. Along with music, he also taught his children languages and academic subjects.

1762–1773: Years of travel

During Mozart's youth, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition, in 1762, at the court of the Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zurich, Donaueschingen, and Munich. During this trip, Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, whom Mozart visited in London in 1764 and 1765. The family again went to Vienna in late 1767 and remained there until December 1768. In 1767, during this period, he composed the Latin drama ''Apollo et Hyacinthus'' first performed in Salzburg University.

These trips were often difficult and travel conditions were primitive. The family had to wait for invitations and reimbursement from the nobility and they endured long, near-fatal illnesses far from home.

After one year in Salzburg, father and son set off for Italy, leaving Mozart's mother and sister at home. This travel lasted from December 1769 to March 1771. As with earlier journeys, Mozart's father wanted to display his son's abilities as a performer and a rapidly maturing composer. Mozart met G. B. Martini, in Bologna, and was accepted as a member of the famous ''Accademia Filarmonica''. In Rome, he heard Gregorio Allegri's ''Miserere'' once in performance in the Sistine Chapel. He wrote it out in its entirety from memory, only returning to correct minor errors—thus producing the first illegal copy of this closely guarded property of the Vatican.

In Milan, Mozart wrote the opera ''Mitridate, re di Ponto'' (1770), which was performed with success. This led to further opera commissions. He returned with his father later twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of ''Ascanio in Alba'' (1771) and ''Lucio Silla'' (1772). Mozart's father hoped these visits would result in a professional appointment for his son in Italy, but these hopes were never fulfilled.

Toward the end of the final Italian journey, Mozart wrote the first of his works to be still widely performed today, the solo motet ''Exsultate, jubilate'', K. 165.

1773–1777: The Salzburg court

After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had a great number of friends and admirers in Salzburg and had the opportunity to work in many genres, composing symphonies, sonatas, string quartets, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K. 216, K. 218, K. 219—are now staples of the repertoire. In 1776 he turned his efforts to piano concertos, culminating in the E-flat concerto K. 271 of early 1777, considered by critics to be a breakthrough work.

Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year; Mozart also longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salzburg was largely reserved for visiting troupes.

Two long expeditions in search of work interrupted this long Salzburg stay: Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera ''La finta giardiniera''.

1777–1778: The Paris journey

In August 1777, Mozart resigned his Salzburg position and, on September 23, ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.

Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. There were prospects of employment in Mannheim, but they came to nothing, and Mozart left for Paris on 14 March 1778 to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment. He fell into debt and took to pawning valuables. The nadir of the visit occurred when Mozart's mother took ill and died on 3 July 1778. There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.

While Mozart was in Paris, his father was pursuing opportunities for his son back in Salzburg. With the support of local nobility, Mozart was offered a post as court organist and concertmaster. The yearly salary was 450 florins, but he was reluctant to accept. After leaving Paris on in September 1778, he tarried in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him. Mozart finally reached home on 15 January 1779 and took up the new position, but his discontent with Salzburg was undiminished.

Among the better known works that Mozart wrote on the Paris journey are the A minor piano sonata K. 310/300d and the "Paris" Symphony (no. 31); these were performed in Paris on 12 and 18 June 1778.

1781: Departure to Vienna

In January 1781, Mozart's opera ''Idomeneo'' premiered with "considerable success" in Munich. The following March the composer was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. Mozart, fresh from the adulation he had earned in Munich, was offended when Colloredo treated him as a mere servant and particularly when the archbishop forbade him to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary. The resulting quarrel came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted but in a grossly insulting way: the composer was dismissed literally "with a kick in the ass", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.

The quarrel with the archbishop went harder for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart's father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and his father's demands to return. Solomon characterizes Mozart's resignation as a "revolutionary step", and it greatly altered the course of his life.

Early Vienna years

Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera ''Die Entführung aus dem Serail'' ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe", and fully established Mozart's reputation as a composer.

Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet. Aloysia, who had earlier rejected Mozart's suit, was now married to the actor and artist, Joseph Lange. Mozart's interest shifted to the third Weber daughter, Constanze. The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782. Mozart also faced a very difficult task in getting his father's permission for the marriage. The couple were finally married on 4 August 1782 in St. Stephen's Cathedral, the day before his father's consent arrived in the mail.

The couple had six children, of whom only two survived infancy:

Raimund Leopold (17 June – 19 August 1783)

Karl Thomas Mozart (21 September 1784 – 31 October 1858)

Johann Thomas Leopold (18 October – 15 November 1786)

Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787 – 29 June 1788)

Anna Maria (died soon after birth, 25 December 1789)

Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844)

In the course of 1782 and 1783 Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart's study of these scores inspired compositions in Baroque style, and later influenced his personal musical language, for example in fugal passages in ''Die Zauberflöte'' ("The Magic Flute") and the finale of Symphony No. 41.

In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart's great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.

Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn's Opus 33 set from 1781. Haydn in 1785 told Mozart's father: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition." (''See also: Haydn and Mozart'')

From 1782 to 1785 Mozart mounted concerts with himself as soloist, presenting three or four new piano concertos in each season. Since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant). The concerts were very popular, and the concertos he premiered at them are still firm fixtures in the repertoire. Solomon writes that during this period Mozart created "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre".

With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a rather plush lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins. Mozart also bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300. The Mozarts sent their son Karl Thomas to an expensive boarding school, and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.

On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit ("Beneficence"). Freemasonry played an important role in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on various occasions he composed Masonic music. (''See also: Mozart and Freemasonry'')

1786–1787: Return to opera

Despite the great success of ''Die Entführung aus dem Serail'', Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act ''Der Schauspieldirektor''. He focused instead on his career as a piano soloist and writer of concertos. However, around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of ''The Marriage of Figaro'' in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera ''Don Giovanni'', which premiered in October 1787 to acclaim in Prague, and also met with success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by Mozart's father, who had died on 28 May 1787.

In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and only required Mozart to compose dances for the annual balls in the Redoutensaal. However, even this modest income became important to Mozart when hard times arrived. Court records show that Joseph's aim was to keep the esteemed composer from leaving Vienna in pursuit of better prospects.

In 1787 the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart. No reliable records survive to indicate whether the two composers ever met. (''See also section "Influence" below'')

1788–1790

Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank. This was a difficult time for musicians in Vienna because Austria was at war, and both the general level of prosperity and the ability of the aristocracy to support music had declined. Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a pitiful sequence of letters pleading for loans" survives. Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed. Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, ''Così fan tutte'', premiered in 1790.

Around this time Mozart made long journeys hoping to improve his fortunes: to Leipzig, Dresden, and Berlin in the spring of 1789, and to Frankfurt, Mannheim, and other German cities in 1790. The trips produced only isolated success and did not relieve the family's financial distress. (''See also: Mozart's Berlin journey'')

1791

Mozart's last year was, until his final illness struck, a time of great productivity—and by some accounts a time of personal recovery. He composed a great deal, including some of his most admired works: the opera ''The Magic Flute'', the final piano concerto (K. 595 in B-flat), the Clarinet Concerto K. 622, the last in his great series of string quintets (K. 614 in E-flat), the motet Ave verum corpus K. 618, and the unfinished ''Requiem'' K. 626.

Mozart's financial situation, a source of extreme anxiety in 1790, finally began to improve. Although the evidence is inconclusive, it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He probably also benefited from the sale of dance music written in his role as Imperial chamber composer. Mozart no longer borrowed large sums from Puchberg, and made a start on paying off his debts.

He experienced great satisfaction in the public success of some of his works, notably ''The Magic Flute'' (performed many times in the short period between its premiere and Mozart's death) and the Little Masonic Cantata K. 623, premiered on 15 November 1791.

Final illness and death

Mozart fell ill while in Prague for the premiere on 6 September of his opera ''La clemenza di Tito'', written in 1791 on commission for the Emperor's coronation festivities. He was able to continue his professional functions for some time, and conducted the premiere of ''The Magic Flute'' on 30 September. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart was nursed in his final illness by his wife and her youngest sister, and was attended by the family doctor, Thomas Franz Closset. It is clear that he was mentally occupied with the task of finishing his ''Requiem''. The evidence, however, that he actually dictated passages to his student Süssmayr is minimal.

Mozart died at 1 am on 5 December 1791 at the age of 35. The New Grove gives a matter-of-fact description of his funeral:

Mozart was buried in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.

The cause of Mozart's death cannot be known with certainty. The official record has it as "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Researchers have posited at least 118 causes of death, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The most widely accepted hypothesis is that Mozart died of acute rheumatic fever.

Mozart's modest funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended. Indeed, in the period immediately after his death, Mozart's reputation rose substantially: Solomon describes an "unprecedented wave of enthusiasm" for his work; biographies were written (first by Schlichtegroll, Niemetschek, and Nissen; see Biographies of Mozart); and publishers vied to produce complete editions of his works.

Appearance and character

Mozart's physical appearance was described by tenor Michael Kelly, in his ''Reminiscences'': "a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain". As his early biographer Niemetschek wrote, "there was nothing special about [his] physique. [...] He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. His nose was "large" and "aquiline" and “became so prominent a feature in the last years of his life...that a scribber in one of the journals of the day, the Morgenblatter of Vienna, honoured him with the epithet 'enourmous-nosed.'" He loved elegant clothing. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Of his voice his wife later wrote that it "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic".

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven's these are mostly not preserved, as his wife sought to destroy them after his death.He was raised a Roman Catholic and remained a member of the Church throughout his life. (''See also: Mozart and Roman Catholicism'')

Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with the Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his older colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.

He enjoyed billiards and dancing, and kept pets: a canary, a starling, a dog, and also a horse for recreational riding. He had a startling fondness for scatological humor, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, but also in his correspondence with his sister and parents. Mozart even wrote scatological music, a series of canons that he sang with his friends. (''See also: Mozart and scatology'')

Rumors of Tourette Syndrome

Although some authors have speculated Mozart had Tourette syndrome, evidence for this hypothesis is lacking. Endocrinologist Benjamin Simkin, however, argues in his book, ''Medical and Musical Byways of Mozartiana'', that Mozart suffered from Tourette's. This claim was picked up by newspapers worldwide and internet websites have further fueled the speculation. A German psychiatrist examined the question of Mozart's diagnoses and concluded, "Tourette’s syndrome is an inventive but implausible diagnosis in the medical history of Mozart". Evidence of a motor tic was found lacking and the notion that involuntary vocal tics transferred to the written form was labeled "problematic". Neurologist and author Oliver Sacks published an editorial disputing Simkin's claim, and the Tourette Syndrome Association pointed to the speculative nature of such information. So far, no expert on Tourette's or organization has voiced concurrence that there is credible evidence to conclude Mozart had the syndrome.

Works, musical style, and innovations

Style

Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the ''style galant'', a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, but also dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491, the Symphony No. 40 in G minor, K. 550, and the opera ''Don Giovanni''. Charles Rosen makes the point forcefully:

"It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the [second] G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous."

Especially during his last decade, Mozart exploited chromatic harmony to a degree rare at the time, with remarkable assurance and to great artistic effect.

Mozart always had a gift for absorbing and adapting valuable features of others' music. His travels helped in the forging of a unique compositional language. In London as a child, he met J.C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his own practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the ''Sturm und Drang'' ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as ''The Marriage of Figaro'', ''Don Giovanni'', and ''Così fan tutte''; opera seria, such as ''Idomeneo''; and Singspiel, of which ''Die Zauberflöte'' is the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, and tone color, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.

Influence

Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between Classical and Romantic eras. More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of the training of classical musicians.

Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn, and he traveled to Vienna in 1787 hoping to study with the older composer. Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466.

A number of composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Frédéric Chopin's Variations on "Là ci darem la mano" from ''Don Giovanni'' (1827), Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331, Fernando Sor's Introduction and Variations on a Theme by Mozart (1821) and Mikhail Glinka's Variations on a Theme from Mozart's Opera Die Zauberflöte in E♭ major (1822). Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, "Mozartiana" (1887), as a tribute to Mozart.

Köchel catalogue

For unambiguous identification of works by Mozart, a ''Köchel catalogue number'' is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works.

See also

Mozart and dance

''The Complete Mozart Edition'', 180 compact discs arranged into 45 themed volumes released by Philips Classics Records in 2000.

Mozart effect

Mozart family

Mozart in fiction

Mozartkugel

Mozarteum

Mozarthaus Vienna

Notes

References

;Cited sources

Fradkin, Robert A. (1996) ''The well-tempered announcer: a pronunciation guide to classical music.'' Bloomington: Indiana University Press. ISBN 025321064X.

;Other sources

External links

Mozarthaus Salzburg

Salzburg Tourist Office – Salzburg City Tourist Board website.

Chronological-Thematic Catalog

Digitized, scanned material (books, sheet music)

"Mozart" Titles; Mozart as author from archive.org

"Mozart" Titles; Mozart as author from books.google.com

Digital Mozart Edition (''Internationale Stiftung Mozarteum'')

"Mozart" titles from Gallica

From the British Library

*Mozart's Thematic Catalogue (view with "Turning the Pages")

*Mozart's Musical Diary

*Background information on Mozart and the Thematic Catalogue

Letters of Leopold Mozart und Wolfgang Amadeus Mozart (Badische Landesbibliothek)

Sheet music

Complete sheetmusic (scores) from the Neue Mozart-Ausgabe (''Internationale Stiftung Mozarteum'')

"Mozart" Titles from the Munich Digitisation Centre (MDZ)

"Mozart" Titles from the University of Rochester

Free typeset sheet music of Mozart's works from ''Cantorion.org''

Mozart as author from archive.org

Mozart as author from books.google.com

Category:Classical era composers Category:Austrian composers Category:German composers Category:Opera composers Category:Organ improvisers Category:Viennese composers Category:Austrian classical pianists Category:Child classical musicians Category:People from Salzburg Category:Austrian Roman Catholics Category:Knights of the Golden Spur Category:1756 births Category:1791 deaths Category:Composers for piano

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Name	Tutankhamun
Alt name	Tutankhamen, Tutankhaten, Tutankhamon possibly Nibhurrereya (as referenced in the Amarna letters)
Reign	ca. 1333–1323 BC
Dynasty	18th Dynasty
Predecessor	Smenkhkare? or Neferneferuaten?
Successor	Ay
Spouse	Ankhesenamen
Notes	See Tutankhamun#Names
Children	two daughters
Father	Akhenaten
Mother	unidentified mummy, "The Younger Lady"
Birth date	ca. 1341 BC
Death date	ca. 1323 BC (aged c.18)
Burial	KV62
Monuments	}}

Tutankhamun (alternately spelled with ''Tutenkh-'', ''-amen'', ''-amon''), Egyptian '''', ; approx. 1341 BC – 1323 BC) was an Egyptian pharaoh of the 18th dynasty (ruled c.1333 BC – 1323 BC in the conventional chronology), during the period of Egyptian history known as the New Kingdom. His original name, Tutankhaten, means "Living Image of Aten", while Tutankhamun means "Living Image of Amun". In hieroglyphs, the name Tutankhamun was typically written Amen-tut-ankh, because of a scribal custom that placed a divine name at the beginning of a phrase to show appropriate reverence. He is possibly also the ''Nibhurrereya'' of the Amarna letters, and likely the 18th dynasty king 'Rathotis' who, according to Manetho, an ancient historian, had reigned for nine years — a figure which conforms with Flavius Josephus's version of Manetho's ''Epitome''.

The 1922 discovery by Howard Carter and George Herbert, 5th Earl of Carnarvon of Tutankhamun's nearly intact tomb received worldwide press coverage. It sparked a renewed public interest in ancient Egypt, for which Tutankhamun's burial mask remains the popular symbol. Exhibits of artifacts from his tomb have toured the world. In February 2010, the results of DNA tests confirmed that he was the son of Akhenaten (mummy KV55) and his sister/wife (mummy KV35YL), whose name is unknown but whose remains are positively identified as "The Younger Lady" mummy found in KV35.

Life

Tutankhamun was the son of Akhenaten (formerly Amenhotep IV) and one of Akhenaten's sisters. As a prince he was known as Tutankhaten. He ascended to the throne in 1333 BC, at the age of nine or ten, taking the reign name of Tutankhamun. His wet-nurse was a woman called Maia, known from her tomb at Saqqara.

When he became king, he married his half-sister, Ankhesenepatan, who later changed her name to Ankhesenamun. They had two daughters, both stillborn.

Reign

Given his age, the king probably had very powerful advisers, presumably including General Horemheb, the Vizier Ay, and Maya, the "Overseer of the Treasury". Horemheb records that the king appointed him 'lord of the land' as hereditary prince to maintain law. He also noted his ability to calm the young king when his temper flared.

Domestic policy

In his third regnal year, Tutankhamun reversed several changes made during his father's reign. He ended the worship of the god Aten and restored the god Amun to supremacy. The ban on the cult of Amun was lifted and traditional privileges were restored to its priesthood. The capital was moved back to Thebes and the city of Akhetaten abandoned. This is also when he changed his name to Tutankhamun.

As part of his restoration, the king initiated building projects, in particular at Thebes and Karnak, where he dedicated a temple to Amun. Many monuments were erected, and an inscription on his tomb door declares the king had "spent his life in fashioning the images of the gods". The traditional festivals were now celebrated again, including those related to the Apis Bull, Horemakhet, and Opet. His restoration stela says:

The temples of the gods and goddesses ... were in ruins. Their shrines were deserted and overgrown. Their sanctuaries were as non-existent and their courts were used as roads ... the gods turned their backs upon this land ... If anyone made a prayer to a god for advice he would never respond.

Foreign policy

The country was economically weak and in turmoil following the reign of Akhenaten. Diplomatic relations with other kingdoms had been neglected, and Tutankhamun sought to restore them, in particular with the Mitanni. Evidence of his success is suggested by the gifts from various countries found in his tomb. Despite his efforts for improved relations, battles with Nubians and Asiatics were recorded in his mortuary temple at Thebes. His tomb contained body armour and folding stools appropriate for military campaigns. However, given his youth and physical disabilities, which seemed to require the use of a cane in order to walk (he died at age 18), historians speculate that he did not take part personally in these battles.

Health and appearance

Tutankhamun was slight of build, and was roughly tall.http://www.sciencedaily.com/releases/2006/11/061128084450.htm He had large front incisors and the overbite characteristic of the Thutmosid royal line to which he belonged. He also had a pronounced dolichocephalic (elongated) skull, although it was within normal bounds and highly unlikely to have been pathological. Given the fact that many of the royal depictions of Akhenaten often featured such an elongated head, it is likely an exaggeration of a family trait, rather than a distinct abnormality. The research also showed that the Tutankhamun had "a slightly cleft palate" and possibly a mild case of scoliosis.

Cause of death

There are no surviving records of Tutankhamun's final days. What caused Tutankhamun's death has been the subject of considerable debate. Major studies have been conducted in an effort to establish the cause of death.

Although there is some speculation that Tutankhamun was assassinated, the general consensus is that his death was accidental. A CT scan taken in 2005 shows that he had badly broken his leg shortly before his death, and that the leg had become infected. DNA analysis conducted in 2010 showed the presence of malaria in his system. It is believed that these two conditions (malaria and leiomyomas) combined, led to his death.

Probable product of incest

According to the September 2010 issue of ''National Geographic'' magazine, Tutankhamun was the result of a incestuous relationship and, because of that, may have suffered from several genetic defects that contributed to his early death. For years, scientists have tried to unravel ancient clues as to why the boy king of Egypt, who reigned for 10 years, died at the age of 18. Several theories have been put forth; one was that he was killed by a blow to the head. Another put the blame on a broken leg. As recently as June 2010, German scientists said they believe there is evidence he died of sickle cell disease.

Research conducted by archaeologists, radiologists, and geneticists who started performing CT scans on Tutankhamun in 2005 found that he was not killed by a blow to the head, as previously thought. That same team began doing DNA research on Tutankhamun's mummy, as well as the mummified remains of other members of his family, in 2008. DNA tests finally put to rest questions about Tutankhamun's lineage, proving that his father was Akhenaten, but that his mother was not one of Akhenaten’s known wives. His mother was one of Akhenaten’s five sisters, although it is not known which one. New CT images discovered congenital flaws, which are more common among the children of incest. Siblings are more likely to pass on twin copies of harmful genes, which is why children of incest more commonly manifest genetic defects. It is suspected he also had a partially cleft palate, another congenital defect.

The team was able to establish with a probability of better than 99.99 percent that Amenhotep III was the father of the individual in KV55, who was in turn the father of Tutankhamun. The DNA of the so-called Younger Lady (KV35YL), found lying beside Queen Tiye in the alcove of KV35, matched that of the boy king. Her DNA proved that, like Akhenaten, she was a child of Amenhotep III and Tiye; thus, Tutankhamun's parents were brother and sister. Queen Tiye held much political influence at court and acted as an adviser to her son after the death of her husband. Some geneticists dispute these findings, however, and "complain that the team used inappropriate analysis techniques."

While the data are still incomplete, the study suggests that one of the mummified fetuses found in Tutankhamun's tomb is the daughter of Tutankhamun himself, and the other fetus is probably his child as well. So far only partial data for the two female mummies from KV21 has been obtained. One of them, KV21A, may well be the infants' mother and thus, Tutankhamun's wife, Ankhesenamun. It is known from history that she was the daughter of Akhenaten and Nefertiti, and thus likely to be her husband's half-sister. Another consequence of inbreeding can be children whose genetic defects do not allow them to be brought to term.

The research team consisted of Egyptian scientists Yehia Gad and Somaia Ismail from the National Research Center in Cairo. The CT scans were conducted under the direction of Ashraf Selim and Sahar Saleem of the Faculty of Medicine at Cairo University. Three international experts served as consultants: Carsten Pusch of the Eberhard Karls University of Tübingen, Germany; Albert Zink of the EURAC-Institute for Mummies and the Iceman in Bolzano, Italy; and Paul Gostner of the Central Hospital Bolzano.

As stated above, the team discovered DNA from several strains of a parasite proving he was infected with the most severe strain of malaria several times in his short life. Malaria can trigger circulatory shock or cause a fatal immune response in the body, either of which can lead to death. If Tutankhamun did suffer from a bone disease which was crippling, it may not have been fatal. "Perhaps he struggled against others [congenital flaws] until a severe bout of malaria or a leg broken in an accident added one strain too many to a body that could no longer carry the load," wrote Zahi Hawass, archeologist and head of Egyptian Supreme Council of Antiquity involved in the research.

Tomb

Tutankhamun was buried in a tomb that was small relative to his status. His death may have occurred unexpectedly, before the completion of a grander royal tomb, so that his mummy was buried in a tomb intended for someone else. This would preserve the observance of the customary seventy days between death and burial.

King Tutankhamun's mummy still rests in his tomb in the Valley of the Kings. On November 4, 2007, 85 years to the day after Carter's discovery, the 19-year-old pharaoh went on display in his underground tomb at Luxor, when the linen-wrapped mummy was removed from its golden sarcophagus to a climate-controlled glass box. The case was designed to prevent the heightened rate of decomposition caused by the humidity and warmth from tourists visiting the tomb.

Discovery of tomb

Tutankhamun seems to have faded from public consciousness in Ancient Egypt within a short time after his death, and remained virtually unknown until the 1920s. His tomb was robbed at least twice in antiquity, but based on the items taken (including perishable oils and perfumes) and the evidence of restoration of the tomb after the intrusions, it seems clear that these robberies took place within several months at most of the initial burial. Eventually the location of the tomb was lost because it had come to be buried by stone chips from subsequent tombs, either dumped there or washed there by floods. In the years that followed, some huts for workers were built over the tomb entrance, clearly not knowing what lay beneath. When at the end of the twentieth dynasty the Valley of the Kings burials were systematically dismantled, the burial of Tutankhamun was overlooked, presumably because knowledge of it had been lost and his name may have been forgotten.

Exhibitions

Relics from Tutankhamun's tomb are among the most traveled artifacts in the world. They have been to many countries, but probably the best-known exhibition tour was ''The Treasures of Tutankhamun'' tour, which ran from 1972 to 1979. This exhibition was first shown in London at the British Museum from March 30 until September 30, 1972. More than 1.6 million visitors came to see the exhibition, some queuing for up to eight hours and it was the most popular exhibition in the Museum's history. The exhibition moved on to many other countries, including the USA, USSR, Japan, France, Canada, and West Germany. The Metropolitan Museum of Art organized the U.S. exhibition, which ran from November 17, 1976 through April 15, 1979. More than eight million attended.

In 2004, the tour of Tutankhamun funerary objects entitled "Tutankhamen: The Golden Hereafter" made up of fifty artifacts from Tutankhamun’s tomb and seventy funerary goods from other 18th Dynasty tombs began in Basle, Switzerland, went to Bonn Germany, the second leg of the tour, and from there toured the United States. The exhibition returned to Europe and to London. The European tour was organised by the Art and Exhibition Hall of the Federal Republic of Germany, the Supreme Council of Antiquities (SCA), and the Egyptian Museum in cooperation with the Antikenmuseum Basel and Sammlung Ludwig. Deutsche Telekom sponsored the Bonn exhibition.

In 2005, Egypt's Supreme Council of Antiquities, in partnership with Arts and Exhibitions International and the National Geographic Society, launched the U.S. tour of the Tutenkahamun treasures and other 18th Dynasty funerary objects this time called "Tutankhamun and the Golden Age of the Pharaohs". It was expected to draw more than three million people.

The exhibition started in Los Angeles, California, then moved to Fort Lauderdale, Florida, Chicago and Philadelphia. The exhibition then moved to London before finally returning to Egypt in August 2008. Subsequent events have propelled an encore of the exhibition in the United States, beginning with the Dallas Museum of Art in October 2008 which hosted the exhibition until May 2009. The tour continued to other U.S. cities. After Dallas the exhibition moved to the de Young Museum in San Francisco, followed by the Discovery Times Square Exposition in New York City.

In 2011 the exhibition will visit Australia for the first time, opening at the Melbourne Museum in April for its only Australian stop before Egypt's treasures return to Cairo.

The exhibition includes 80 exhibits from the reigns of Tutankhamun's immediate predecessors in the Eighteenth dynasty, such as Hatshepsut, whose trade policies greatly increased the wealth of that dynasty and enabled the lavish wealth of Tutankhamun's burial artifacts, as well as 50 from Tutankhamun's tomb. The exhibition does not include the gold mask that was a feature of the 1972-1979 tour, as the Egyptian government has determined that the mask is too fragile to withstand travel and will never again leave the country.

A separate exhibition called "Tutankhamun and the World of the Pharaohs" began at the Ethnological Museum in Vienna from March 9 to September 28, 2008 showing a further 140 treasures from the tomb. This exhibition continued to Atlanta and the Indianapolis Children's Museum.

Curse

For many years, rumors of a "Curse of the Pharaohs" (probably fueled by newspapers seeking sales at the time of the discovery) persisted, emphasizing the early death of some of those who had first entered the tomb. However, a recent study of journals and death records indicates no statistical difference between the age of death of those who entered the tomb and those on the expedition who did not.

Aftermath of death

Although it is unknown how he met his death, the Amarna letters indicate that Tutankhamun's wife, recently widowed, wrote to the Hittite king Suppiluliuma I, asking if she could marry one of his sons, saying that she was very afraid, but would not take one of her own people as husband. However, the son was killed before reaching his new wife. Shortly afterward Ay married Tutankhamun's widow and became Pharaoh as a war between the two countries was fought, and Egypt was left defeated.

Significance

Tutankhamun was nine years old when he became pharaoh and reigned for approximately ten years. In historical terms, Tutankhamun's significance stems from his rejection of the radical religious innovations introduced by his predecessor and father, Akhenaten. Secondly, his tomb in the Valley of the Kings was discovered by Carter almost completely intact — the most complete ancient Egyptian royal tomb ever found. As Tutankhamun began his reign at such an early age, his vizier and eventual successor Ay was probably making most of the important political decisions during Tutankhamun's reign.

Tutankhamun was one of the few kings worshiped as a god and honored with a cult-like following during his lifetime. A stela discovered at Karnak and dedicated to Amun-Re and Tutankhamun indicates that the king could be appealed to in his deified state for forgiveness and to free the petitioner from an ailment caused by wrongdoing. Temples of his cult were built as far away as in Kawa and Faras in Nubia. The title of the sister of the Viceroy of Kush included a reference to the deified king, indicative of the universality of his cult.

In popular culture

If Tutankhamun is the world's best known pharaoh, it is partly because his tomb is among the best preserved, and his image and associated artifacts the most-exhibited. As Jon Manchip White writes, in his foreword to the 1977 edition of Carter's ''The Discovery of the Tomb of Tutankhamun'', "The pharaoh who in life was one of the least esteemed of Egypt's kings has become in death the most renowned." As a side effect, the interest in this tomb and its alleged "curse" led to horror movies featuring a vengeful mummy.

Film and television

''We Want Our Mummy'', a 1939 film by the Three Stooges. In it, the slapstick comedy trio explores the tomb of the midget King Rutentuten (pronounced "rootin'-tootin'") and his Queen, Hotsy Totsy. A decade later, they were crooked used-chariot salesmen in ''Mummy's Dummies'', in which they ultimately assist a different King Rootentootin (Vernon Dent) with a toothache.

King Tut, played by Victor Buono, was a villain on the ''Batman'' TV series which aired from 1966 to 1968. Mild-mannered Egyptologist William Omaha McElroy, after suffering a concussion, came to believe he was the reincarnation of Tutankhamun. His response to this knowledge was to embark upon a crime spree that required him to fight against the "Caped Crusaders", Batman and Robin.

The Discovery Kids animated series ''Tutenstein'' stars a fictional mummy based on Tutankhamun, named Tutankhensetamun and nicknamed Tutenstein in his afterlife. He is depicted as a lazy and spoiled 10-year-old mummy boy who must guard a magical artifact called the Scepter of Was from the evil Egyptian god of Set.

The first episode of the 2005 BBC series ''Egypt: Rediscovering a Lost World'' focuses on the life and death of Tutankhamun and the serendipitous discovery of his tomb.

''La Reine Soleil'' (2007 animated film by Philippe Leclerc), features Akhenaten, Tutankhaten (later Tutankhamun), Akhesa (Ankhesenepaten, later Ankhesenamun), Nefertiti, and Horemheb in a complex struggle pitting the priests of Amun against Akhenaten's intolerant monotheism.

Other

"King Tut", a whimsical 1978 song by (American comedian) "Steve Martin and the Toot Uncommons" (a backup group consisting of members of the Nitty Gritty Dirt Band).

1989 televison networks often advertised commercials for ''King Kuts'' dog food, complete with Anubis-styled canine animation and music to the tune of "Camel Caravan." The can label was also adorned with themed heiroglyphs.

The mummy of Tutankhamun is depicted as a villain in Raj Comics's ''Nagraj'', a Hindi superhero comicbook. In this series, his mask is the source of his power.

For "''Transformers''" the Decepticon character Frenzy repeats the name, "Tutankhamun."

The video game ''Sphinx and the Cursed Mummy'' features a fictional representation of Prince Tutankhamun. Tutankhamun is the victim of an unnamed magical ritual which results in almost instantaneous mummification and extraction of what appears to be his "life force". In the instruction manual, the Mummy is described as young, inexperienced and naive.

Names

At the reintroduction of traditional religious practice, his name changed. It is transliterated as twt-ˤnḫ-ỉmn ḥq3-ỉwnw-šmˤ, and according to modern Egyptological convention is written Tutankhamun Hekaiunushema, meaning "Living image of Amun, ruler of Upper Heliopolis". On his ascension to the throne, Tutankhamun took a ''praenomen''. This is transliterated as nb-ḫprw-rˤ, and, again, according to modern Egyptological convention is written Nebkheperure, meaning "Lord of the forms of Re". The name ''Nibhurrereya'' in the Amarna letters may be closer to how his praenomen was actually pronounced.

References

Further reading

Andritsos, John. Social Studies of ancient Egypt: Tutankhamun. Australia 2006

Booth, Charlotte. ''The Boy Behind the Mask''", Oneworld, ISBN 978-1-85168-544-8

Brier, Bob. ''The Murder of Tutankhamun: A True Story''. Putnam Adult, April 13, 1998, ISBN 0-425-16689-9 (paperback)/ISBN 0-399-14383-1 (hardcover)/ISBN 0-613-28967-6 (School & Library Binding)

Carter, Howard and Arthur C. Mace, ''The Discovery of the Tomb of Tutankhamun''. Courier Dover Publications, June 1, 1977, ISBN 0-486-23500-9 ''The semi-popular account of the discovery and opening of the tomb written by the archaeologist responsible''

Desroches-Noblecourt, Christiane. Sarwat Okasha (Preface), ''Tutankhamun: Life and Death of a Pharaoh''. New York: New York Graphic Society, 1963, ISBN 0-8212-0151-4 (1976 reprint, hardcover) /ISBN 0-14-011665-6 (1990 reprint, paperback)

Edwards, I.E.S., ''Treasures of Tutankhamun''. New York: Metropolitan Museum of Art, 1976, ISBN 0-345-27349-4 (paperback)/ISBN 0-670-72723-7 (hardcover)

Egyptian Supreme Council of Antiquities, ''The Mummy of Tutankhamun: the CT Scan Report'', as printed in ''Ancient Egypt'', June/July 2005.

Haag, Michael. "The Rough Guide to Tutankhamun: The King: The Treasure: The Dynasty". London 2005. ISBN 1-84353-554-8.

Hoving, Thomas. ''The search for Tutankhamun: The untold story of adventure and intrigue surrounding the greatest modern archeological find''. New York: Simon & Schuster, October 15, 1978, ISBN 0-671-24305-5 (hardcover)/ISBN 0-8154-1186-3 (paperback) ''This book details a number of interesting anecdotes about the discovery and excavation of the tomb''

James, T. G. H. ''Tutankhamun''. New York: Friedman/Fairfax, September 1, 2000, ISBN 1-58663-032-6 (hardcover) ''A large-format volume by the former Keeper of Egyptian Antiquities at the British Museum, filled with colour illustrations of the funerary furnishings of Tutankhamun, and related objects''

Neubert, Otto. ''Tutankhamun and the Valley of the Kings''. London: Granada Publishing Limited, 1972, ISBN 583-12141-1 (paperback) ''First hand account of the discovery of the Tomb''

Reeeves, C. Nicholas. ''The Complete Tutankhamun: The King, the Tomb, the Royal Treasure''. London: Thames & Hudson, November 1, 1990, ISBN 0-500-05058-9 (hardcover)/ISBN 0-500-27810-5 (paperback) ''Fully covers the complete contents of his tomb''

Rossi, Renzo. Tutankhamun. Cincinnati (Ohio) 2007 ISBN 978-0-7153-2763-0, a work all illustrated and coloured.

External links

Grim secrets of Pharaoh's city BBC News

Tutankhamun and the Age of the Golden Pharaohs website

''The Independent'', October 20, 2007: "A 3,000-year-old mystery is finally solved: Tutankhamun died in a hunting accident". See also video at ''The-Maker.net''

British Museum Tutankhamun highlight

King Tut: Ancient Egypt Unveiled - slideshow by ''Life magazine''

Category:Pharaohs of the Eighteenth dynasty of Egypt Category:Amarna Period Category:Atenism Category:Curses Category:Historical deletion in ancient Egypt Category:Ancient child rulers Category:Ancient Egyptian mummies Category:1340s BC births Category:1320s BC deaths

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Name	Howard Carter
Birth date	May 09, 1874
Birth place	Kensington, London
Death date	March 02, 1939
Death place	Kensington, London
Nationality	British
Field	Archaeologist and Egyptologist
Work	An Archaeologist and Egyptologist
Known for	Discovery of the tomb of Tutankhamun
Signature	}}

Howard Carter (9 May 18742 March 1939) was an English archaeologist and Egyptologist, noted as a primary discoverer of the tomb of Tutankhamun.

Beginning of career

In 1891, at the age of 17, Carter, a talented young artist, was sent out to Egypt by the Egypt Exploration Fund to assist Percy Newberry in the excavation and recording of Middle Kingdom tombs at Beni Hasan. Even at that young age he was innovative in improving the methods of copying tomb decoration. In 1892 he worked under the tutelage of William Matthew Flinders Petrie for one season at Amarna, the capital founded by the pharaoh Akhenaten. From 1894 to 1899 he then worked with Edouard Naville at Deir el Bahri, where he recorded the wall reliefs in the temple of Hatshepsut.

In 1899, Carter was appointed the first chief inspector of the Egyptian Antiquities Service (EAS). He supervised a number of excavations at Thebes (now known as Luxor) before he was transferred in 1904 to the Inspectorate of Lower Egypt. Carter resigned from the Antiquities Service in 1905 as a result of an affray between Egyptian site guards and a group of French tourists, in which he sided with the Egyptian personnel.

Tutankhamun's tomb

After three hard years, Carter was employed by Lord Carnarvon to supervise his excavations from 1907. The intention of Gaston Maspero, who introduced the two, was to ensure that Carter imposed modern archaeological methods and systems of recording.

Carnarvon financed Carter's work in the Valley of the Kings from 1914, but it was interrupted by World War I until 1917, when serious work was resumed. After several years of fruitless searching, Carnarvon became dissatisfied with the lack of results and, in 1922, he gave Carter one more season of funding to find the tomb he was searching for.

On November 4, 1922, Carter's water carrier found the steps leading to Tutankhamun's tomb (subsequently designated KV62), by far the best preserved and most intact pharaonic tomb ever found in the Valley of the Kings. He wired Carnarvon to come, and on 26 November 1922, with Carnarvon, Carnarvon's daughter, and others in attendance, Carter made the famous "tiny breach in the top left hand corner" of the doorway, and was able to peer in by the light of a candle and see that many of the gold and ebony treasures were still in place. He did not yet know at that point whether it was "a tomb or merely a cache", but he did see a promising sealed doorway between two sentinel statues. When Carnarvon asked him what he could see, Carter replied: "There are some marvellous objects here".

The next several months were spent cataloging the contents of the antechamber under the 'often stressful' oversight of Pierre Lacau, director general of the Department of Antiquities of Egypt. On 16 February 1923, Carter opened the sealed doorway, and found that it did indeed lead to a burial chamber, and he got his first glimpse of the sarcophagus of Tutankhamun. All of these discoveries were eagerly covered by the world's press, but most of their representatives were kept in their hotels; only H. V. Morton was allowed on the scene, and his vivid descriptions helped to cement Carter's reputation with the British public.

Carter's own notes and photographic evidence, indicate that he, Lord Carnarvon and Lady Evelyn Herbert entered the burial chamber shortly after the tomb's discovery and before the official opening.

Later work and death

The clearance of the tomb with its thousands of objects continued until 1932. Following his sensational discovery Howard Carter retired from archaeology and became a part-time agent for collectors and museums, including the Cleveland Museum of Art and the Detroit Institute of Arts. He visited the United States in 1924, and gave a series of illustrated lectures in New York City and other cities in the United States which were attended by very large and enthusiastic audiences, sparking Egyptomania in America.

He died of lymphoma, a type of cancer, in Kensington, London, on 2 March 1939 at the age of 64. The archaeologist's death, so long after the opening of the tomb despite being the leader of the expedition, is the most common piece of evidence put forward by sceptics to refute the idea of a "curse of the pharaohs" plaguing the party that violated Tutankhamen's tomb.

Carter is buried in the Putney Vale Cemetery in London. On his gravestone is written: "May your spirit live, May you spend millions of years, You who love Thebes, Sitting with your face to the north wind, Your eyes beholding happiness" and "O night, spread thy wings over me as the imperishable stars".

In popular culture

Film and Television

Carter has been portrayed by the following actors in film and television productions;

John Cleese in the 1970 TV sketch comedy ''Monty Python's Flying Circus'': ''Archaeology Today''.

Robin Ellis in the 1980 Columbia Pictures Television production ''The Curse of King Tut's Tomb''

Pip Torrens in the 1992 Lucasfilm TV movie ''Young Indiana Jones and the Curse of the Jackal''.

Pip Torrens in the 1995 Lucasfilm TV movie ''Young Indiana Jones and the Treasure of the Peacock's Eye''

Timothy Davies in the 1998 IMAX documentary ''Mysteries of Egypt''

Stuart Graham in the 2005 BBC docudrama ''Egypt''

Literature

He appears as a character throughout most of the ''Amelia Peabody'' series of books by 'Elizabeth Peters' (a pseudonym of Egyptologist Dr Barbara Mertz); and in much of Arthur Phillips's ''The Egyptologist''.

In the book ''The Tutankhamun Affair'' by Christian Jacq he is a key character.

He appears as a main character in ''A Cloudy Day on the West Side'', a novel by Egyptian writer Muhammad Al-Mansi Qindeel.

He is a main character in James Patterson and Martin Dugard's ''The Murder of King Tut''.

He is referenced in Hergé's ''The Adventures of Tintin, The Seven Crystal Balls'' published in 1944 by Le Soir. ISBN 2-203-00112-7

He is referenced in ''Wedding of the Season'' by Laura Lee Guhrke. In this historical romance novel, Carter's telegram to the fictional British Egyptologist the Duke of Sunderland reports discovering "steps to a new tomb" and creates a climatic conflict. Published 2011 by Avon Books. ISBN 978-0-06-196315-5

Music

''In Search of the Pharaohs'' - a 30-minute cantata for narrator, junior choir and piano by composer Robert Steadman, commissioned by the City of London Freemen's School which uses extracts from Carter's diaries as its text.

Finnish metal band Nightwish mentions Carter in the song Tutankhamen on their debut album Angels Fall First: ''"For Carter has come / To free my beloved"''.

Art

A paraphrased extract from Howard Carter's diary of 26 November 1922 is used as the plaintext for Part 3 of the encrypted Kryptos sculpture at CIA Headquarters in Langley, Virginia.

References

Further reading

James, T. G. H. ''Howard Carter: The Path to Tutankhamun''. London: Kegan Paul, 1992 (ISBN 0-7103-0425-0); London: Tauris Parke, 2001 (rev. paperback ISBN 1860646158)

Reeves, Nicholas; Taylor, John H. ''Howard Carter before Tutankhamun''. London: British Museum, 1992 (ISBN 0-7141-0952-5); New York: H. N. Abrams, 1993

Carnarvon, Fiona; ''Carnarvon & Carter - The story of the two Englishmen who discovered the tomb of Tutankhamun''. Highclere Enterprises, 2007

Vandenberg, Philipp. ''Der vergessene Pharao: Unternehmen Tut-ench-Amun, grösste Abenteuer der Archäologie''. Orbis, 1978 (ISBN 3570031195); translated as ''The Forgotten Pharaoh: The Discovery of Tutankhamun''. London: Hodder and Stoughton, 1980 (ISBN 0340246642)

Winstone, H. V. F. ''Howard Carter and the Discovery of the Tomb of Tutankhamun''. Rev. edn. Manchester: Barzan Publishing, 2006 (ISBN 1-905521-04-9)

Peck, William H. "The Discoverer of the Tomb of Tutankhamun and the Detroit Institute of Arts". ''Journal of the Society for the Study of Egyptian Antiquities''. Vol. XI, No. 2, March, 1981, pp. 65–67

External links

Grave of Howard Carter

Swaffham, Norfolk museum - Howard Carter exhibit

Five Years' Explorations at Thebes

Category:English archaeologists Category:English Egyptologists Category:1874 births Category:1939 deaths Category:Deaths from lymphoma Category:Burials at Putney Vale Cemetery Category:Cancer deaths in England

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