Egyptian exposition in the Pushkin Museum. Acquaintance with the culture of ancient Egypt. children's educational excursion around the Egyptian hall of the Pushkin State Museum of Fine Arts. The cost of excursions and entrance tickets to the Pushkin Museum of Fine Arts for Russian citizens

For a long time I was going to talk about my, perhaps, the most beloved Moscow museum - the State Museum of Fine Arts. A.S. Pushkin. We'll have to split the post into two parts, a very large and interesting museum.




PART 1

Do not expect to go around the entire State Museum of Fine Arts. A.S. Pushkin in one visit. It's almost impossible. Is it just a run, glancing at the rich exhibits on two floors in 30 halls!
Therefore, I propose to quickly "run" through the halls of the museum with me right now, and thoroughly familiarize yourself with it for everyone independently and preferably in a few visits!
Quite a bit about the history of the museum. The laying ceremony of the Museum took place on August 17, 1898. The Museum of Fine Arts named after Emperor Alexander III at the Moscow Imperial University received its first visitors on May 31, 1912.

As usual in those glorious years, the museum was built with donations from benefactors. Most of the money was contributed by the great Russian philanthropist Yuri Stepanovich Nechaev-Maltsov.
Museum founder Ivan Vladimirovich Tsvetaev (1847 - 1913) - Russian scientist-historian, archaeologist, philologist and art critic, corresponding member of the St. Petersburg Academy of Sciences, professor at Moscow University (father of Marina Tsvetaeva).

So, go ahead, on the 1st floor!

Hall 1. ART OF ANCIENT EGYPT. IV-I millennium BC

The richest collection of ancient Egyptian art, presented in the exposition of this hall, acquaints with the stages of development of Egyptian culture, from the pre-dynastic period (IV millennium BC) to the time of the New Kingdom (XVII-XII centuries BC). The architecture of the hall reproduces the characteristic features of the temple architecture of the 2nd millennium BC. The ceiling paintings made by the artist I. I. Nivinsky in 1912 represent a free variation on the theme of the decoration of the funeral temples and tombs.

Statue of Amenemhat III. Middle Kingdom, Dynasty XII, mid - late 19th century BC

Sarcophagus of the grandee Mahu. New kingdom, XVIII dynasty, XIV century BC.

Statue of the god Anubis. New kingdom, 2nd millennium BC

These "little notes" are more than 4000 years old !!!

Hall 2. ANCIENT CIVILIZATIONS (Mesopotamia, Urartu, Iran, Cyprus, Parthia, India, America)

The exposition of this hall acquaints with the art of the ancient peoples who inhabited Asia Minor, the Mediterranean, the Indian Peninsula and Latin America. In the decoration of the hall, motives of the paintings of the palaces of the Assyrian kings were used: the gatekeepers "demons" and reliefs from the royal palaces (casts). In the center of the hall, on a pedestal, stand the original vessels of Urartu, an ancient state (present-day territory of Armenia).

Showcases display authentic objects of ancient civilizations.
Peru. Recuai culture. 1st millennium A.D. The figure of a warrior-priest. Our Vanka-vstanka reminds

Scythians. VII-V century BC Clay wagon (possibly a toy).

Four-armed Vishnu with attributes in his hands: a club, a wheel, a shell and a lotus.
Sandstone, IX century AD Gift of Indira Gandhi, Prime Minister of India.

Relief depicting a winged spirit in a blessing pose.
Cast. Original 9th ​​century BC is in the British Museum, London.
To work on the casts of I.V. Tsvetaev in different years attracted famous Russian scientists and outstanding artists. Plaster casts and electroplated copies were ordered in 1890-1911 from famous European workshops.

Hall 3. TREASURES OF TROY

A collection of 259 items from the treasures discovered by Heinrich Schliemann during the excavations of Troy in 1871-1890 is kept at the Pushkin Museum. A.S. Pushkin since 1945. The collection was transferred to the Soviet Union along with other art treasures by the decision of the Soviet Control Commission as partial compensation for damage caused by the Nazis.

Hall 4. ART OF THE ANCIENT WORLD (Cyprus, Ancient Greece, Etruria, Ancient Rome)

The collection of antique originals is one of the earliest in the collection of the Pushkin Museum. The first ancient Greek vases and terracotta were purchased for the Cabinet of Fine Arts of Moscow University in the 1850s and 60s. Today, the collection contains more than ten thousand originals dating back to the 3rd millennium BC. to IV century A.D. More than half of them were found by expeditions of the Pushkin Museum in the course of archaeological excavations.

In four sections of the hall - Cyprus, Ancient Greece, Etruria, Ancient Rome - are presented the monuments of the main artistic regions and centers of the ancient Mediterranean.
The central place in the section of the art of Ancient Rome is occupied by the sarcophagus with Dionysian scenes (c. 210) - one of the most famous monuments in the Museum collection.

The torso of a naked Dionysus with a sword and a vine of grapes. First half of the 2nd century, marble.

Hall 5. ART OF THE NORTHERN BLACK SEA

The exposition is based on materials found by expeditions of the Pushkin State Museum of Fine Arts. A.S. Pushkin in the south of Russia and in the Crimea.

A portrait statue of a ruler from Gorgippia. Marble, 80s II century
Found in 1939-1940. in Anapa (antique Gorgippia).

Hall 6. COPTIC AND HELINISTIC ART

In the first centuries of our era, the Christian religion began to spread in Egypt. Egyptian Christians were called Copts.
The hall presents the art and culture of Egypt after the campaigns of Alexander the Great, when Egyptian art absorbs the features of the art of the Greeks ("Hellenes"). Most of the exhibits are associated with a funeral cult - sarcophagi, burial sheets and masks. In the center of the hall is a showcase with Egyptian sarcophagi and mummies of the 6th-1st centuries BC.

Of particular interest is the collection of 16 Fayum portraits made in the most complex technique of wax paints.
Portrait of a woman, second half of the 2nd century

Mummy masks, 2nd century.

Hall 7. BYZANTIC ART OF THE XIV-XVI CENTURIES. ITALIAN ART VIII-XVI centuries

Byzantine painting is represented mainly by monuments of the XIV century. Among the world-class masterpieces is the icon "Cathedral of the Twelve Apostles", which is exceptional in terms of subtlety of execution.

The collection of Italian art is one of the best in the collection of the Pushkin Museum.

Giovanni Antonio Boltraffio. Portrait of a young man in the image of St. Sebastian. End of the 1490s.

Giulio Pippi. The lady behind the toilet. Early 1520s.

Room 8. THE ART OF GERMANY AND THE NETHERLANDS OF THE XV-XVI CENTURIES

The art of the Northern Renaissance is presented for the first time in a separate room. These are six boards by Lucas Cranach the Elder, The Flagellation of Christ by the greatest Münster master Johann Körbecke, The Annunciation by the Master from Hoogstraten, and others.
The collection of German art of the 15th century of the Pushkin Museum of Fine Arts is the best in Russia in terms of the number and quality of works.
Also here is a section of the art of the Netherlands.

Room 9. Flemish Art of the 17th century.

The Flanders Painting Hall provides a holistic view of the Flemish school. Along with the most prominent names such as Rubens, Van Dyck, Jordaens, Snyders, the number of exhibited paintings of which has increased, primarily due to large-format canvases, in the hall you can now see the works of their students and contemporaries (about two dozen new canvases).

Room 10. Rembrandt and the masters of his school.

For the first time, six paintings by Rembrandt, as well as the works of his students and followers, are shown as an independent section.

Room 11. Dutch painting of the 17th century.

Pictures of the Dutch school of the 17th century constitute one of the most numerous and attractive sections of the Pushkin Museum's exposition. In the face of heavy dependence on market competition, Dutch artists focused on one or more genres in which they felt most confident. Some preferred to paint pictures on religious and mythological subjects (works by Hendrik Goltzius, Gerrit van Honthorst, Nicholas Berchem), others - landscapes, and still others - genre scenes and still lifes.

Hall 14. GREEK YARD. Art of Ancient Greece. 2nd half of 5th - early 4th century BC Casts.

One of the most beautiful halls of the museum. The complex organization of movement on three levels of the floor made it possible to convey with amazing accuracy the free picturesqueness of the Athenian Acropolis ensemble.

Hall 15. ITALIAN YARD. Art of the Middle Ages and Renaissance. Casts.

The Italian courtyard is built as a reduced repetition of the courtyard of Palazzo Bargelo: a corner staircase leading to the second floor, small columns with vegetable capitals supporting the balcony, a light arcade, a well in the center. The accuracy of the choice of the architectural prototype made it possible to combine in the exhibition hall samples of classical art of the German Middle Ages with the works of renowned Italian sculptors of the Renaissance.

State Museum of Fine Arts. A.S. Pushkin or, as it is more often called, the Pushkin Museum is one of the most significant museums in Moscow, which has gathered within its walls a large collection of works of foreign art from the ancient world to the present day.

For the first time, the Pushkin Museum opened its doors on May 31, 1912. Professor of Moscow University Ivan Vladimirovich Tsvetaev became the inspiration and the first director. The original collection was formed from copies of antique sculptures and mosaics of the University Cabinet of Fine Arts and genuine antiquities purchased from the famous scientist-Egyptologist V.S. Golenishchev. Later, the halls were replenished with paintings transferred from other museums and works of art from private collections donated or confiscated after the revolution. Today, the collection of the Pushkin Museum contains more than 670,000 exhibits, of which only 1.5% are available for inspection.

Run by the Pushkin Museum. Pushkin is a whole museum town located in the historical center of Moscow near the Kropotkinskaya metro station. It includes several buildings, including:

• Main building
• Art gallery of the countries of Europe and America of the 19th and 20th centuries.
• Private Collections Department
• Museum-apartment of Svyatoslav Richter
• Center for aesthetic education "Museion"
• Educational Art Museum. I. V. Tsvetaeva
• House of Graphics

The main building is an architectural monument with a powerful colonnade and a glass roof, built 100 years ago especially for the museum.

The exposition is located here on two floors. The first one contains genuine rarities of Ancient Egypt, ancient times, the golden treasures of Ancient Troy from the excavations of the archaeologist Heinrich Schliemann, paintings by European masters of the 8-18th centuries, there are Greek and Italian courtyards - large spaces with sculptures-casts. On the second floor, many rooms are devoted to copies of art objects from Ancient Greece, Rome, the Middle Ages and the Renaissance. In addition, the originals of paintings by European artists are exhibited here.

The Egyptian Hall is one of the world's best collections of authentic items from the times of Ancient Egypt: mummies, sarcophagi, masks, figurines, jewelry and vessels.

Wooden sarcophagus of the noble Mahu, the holder of the plot of land of the temple of Amun:

Amenhotep and Rannai - priest and priestess of the god Amun:

Sarcophagus and mummy Hor-Ha. In the foreground is a cat's mummy:

The next room is dedicated to the art of the Ancient Near East.

Statuette of an adorant from Northern Mesopotamia. An adherent is a figurine made of stone or clay, which was placed in the temple so that she would pray for the person who installed it.

Halls of antique art with a collection of Greek vases and amphorae, mosaics, sculptures and reliefs of Ancient Italy, Cyprus and Rome.

Antefix - ceramic tiles with a Medusa Gorgon mask:

Items from the excavations of Panticapaeum - the capital of the Cimerian Bosporus:

The theme of antiquity continues in the Greek courtyard, a large hall filled with casts of famous ancient Greek statues, reliefs and architectural fragments.

Sleeping Ariadne. The marble original is kept in the Vatican.

Another courtyard is Italian, with casts of Renaissance masterpieces.

The equestrian statue is a copy of the bronze monument to Commander-in-Chief Bartolomeo Colleoni from Venice.

The famous David Michelangelo. The height of the sculpture is 5.5 meters.

One of the main gems of the Museum of Fine Arts. Pushkin - a collection of works by Rembrandt and the artists of his school is located in hall 10.

Rembrandt "Portrait of an Old Woman" and "Portrait of an Old Woman".

Exhibition of paintings by Flemish painters of the 17th century - Rubens, Jordaens, Van Dyck, Bruegel.

Anthony Van Dyck "Portrait of Adrian Stevens". Flemish master of the early 17th century "Portrait of a Lady with a Fan".

Skating by Hendrik Averkamp from the 17th century Dutch Art Hall.

Also on the ground floor, the permanent exhibition presents the art of Byzantium, Italy of the 13-16th centuries, Germany and the Netherlands of the 15-16th centuries.

Let's go up to the second floor.

The hall, named "Olympic", with casts of classical ancient Greek sculptures.

Copy of the sculpture "Lamentation of Christ" from the hall of Michelangelo Buonarotti. "Great fame and glory", according to the testimony of his contemporary, the great master gained for himself with this work.

15th century Italian sculpture. The hall is decorated with decorative elements in the style of the Early Renaissance.

Magnificent Tombstone of the Cardinal of the Portuguese by Rossellino Antonio. The original is in Florence in the church of San Miniato al Monte.

European art of the Middle Ages.

The cultural heritage of Ancient Italy and Ancient Rome in casts. The masterpieces of this room are the Capitoline she-wolf, the bust of Marcus Aurelius, the sculpture "Victoria".

Greek Art of the Late Classics and Hellenism. The colossal group "Farnese Bull" - the original is kept in the Archaeological Museum of Naples.

Winged Nike of Samothrace and Aphrodite of Cnidus by the famous sculptor Praxiteles.

Of course, it is difficult to show all the halls and works - there are a lot of them, you can spend more than one hour visiting the Pushkin Museum of Fine Arts.

You can take pictures for free, but there are several rules: you cannot use a tripod or a flash, and it is forbidden to take pictures at temporary exhibitions.

On the days of especially significant exhibitions, when masterpieces from the collections of the best museums in the world are brought in, queues line up at the box office.

On Tuesday and Friday afternoons and Thursday nights, the Main Building, the Gallery and the Private Collections Section host Art Talks on 29 topics.

Since 1980, in the museum. Pushkin hosts the annual music festival "December Evenings of Svyatoslav Richter"; concerts are held in the halls throughout the year.

Sightseeing and thematic excursions are conducted around the permanent exhibition, you can take an audio guide, its cost is 250 rubles.

For more information, see the official website of the Pushkin Museum: arts-museum.ru

How to get to the Pushkin Museum of Fine Arts

By public transport: metro Kropotkinskaya, then 2 minutes on foot.

Address: Volkhonka Street, 12.

Opening hours

• Tuesday, Wednesday, Saturday, Sunday - from 11-00 to 20-00
• Thursday, Friday - from 11-00 to 21-00

Monday - day off

Main building ticket prices

• Adults - 400 rubles
• Preferential categories - 200 rubles
• Children under 16 years old - free

The Pushkin State Museum of Fine Arts is preparing to celebrate its centenary. On this occasion, the exposition is renewed and something that the public has never seen before is taken from the storerooms. "Vash Dosug" walked through the halls of the museum and found out why go to the building with columns on Volkhonka and why the permanent exhibition of the Pushkin Museum is not permanent.

Next to each other - a mummy of a cat, a mummy of a bird and a mummy of a woman's head. We are in the very first and perhaps the most important hall of the museum. So at least it seems to children. It is here - in the Egyptian Hall - that they usually come running first of all, gazing intently at the mummies and sarcophagi and completely ignoring the masterpieces of Rubens and Rembrandt exhibited nearby. However, for the fifth month now, a child has not set foot here. Halls No. 1 (art of ancient Egypt) and No. 2 (art of ancient civilizations) have been closed since October for repairs and reconstruction. The doors are guarded by a formidable policeman. For greater persuasiveness, the caretaker looks sternly from a nearby chair. There is also a sign informing about the reconstruction. Triple protection before the gates to the afterlife. It is really better for children not to enter here yet. Outside the door, learned minds are arguing - so hotly that the basalt figurines of the pharaohs are about to turn red. The curator and the designer discuss the correct placement of the exhibits. There were considerably more of them in the Egyptian Hall. Numerous vessels for incense, cosmetic spoons, dishes and household items were taken from the storerooms. “Now we will see how and how the Egyptians lived,” says Alexandra Stepina, curator and deputy department of the museum's aesthetic education.

Immured masterpieces

Secrets of Pushkin. Source: Secrets Pushkin.

In the hall of ancient civilizations, an Assyrian relief was removed from the wall, which had been walled up in it for almost half a century. In 1969, Indira Gandhi donated a unique exhibition of ancient Indian sculpture to Moscow. No free walls were found in the museum, but you need to place the exhibits, whether you like it or not. In a couple of days, plywood walls were erected, where the previous exhibits were walled up. And outside they placed a gift from the then Prime Minister of India. However, now visitors will see everything at once, and in addition, dozens of new exhibits. But first, they still need to be placed correctly. Here again the controversy. But the last word will still be for Irina Antonova. The permanent director of the museum inspects each room herself. And makes adjustments. As she says - so be it. However, it is not surprising. No one knows the museum better than her. After all, half of the museum's 100-year history is run by her. She also initiates all changes in the seemingly unchanging permanent exhibition.

The benefits of copies

In recent years, the museum has significantly changed and expanded. Several years ago, all the impressionists and works of the 20th century were taken out of the main building of Pushkin. Now Manet, Monet, Degas, Chagall and Renoir "live" in a separate building on the left - the Gallery of 19th-20th century European and American art. Personal collections live on the right side of the main building - in a yellow mansion at 10 Volkhonka Street. A little further away is the Museion Center, where the younger generation is taught.

As a result of all these rearrangements, a lot of free space appeared on the floors of the main building. On this occasion, it was decided to renew the exposition. The collection of prolific little Dutchmen and equally prolific Italians has grown significantly. The arrangement has also changed - before it was rather chaotic, it became clear and understandable. The exhibits distributed throughout the halls were brought together, combining, for example, in one hall Rembrandt and his school and arranging the inspection strictly in chronology. We pass the right wing of the second floor, for the most part filled with copies and casts of various sculptures, starting with antique ones.

Secrets of Pushkin. Source: Secrets Pushkin.

- It only seems that the copy is worse than the original. Over time, the copy becomes valuable, - explains Alexandra Stepina. “Do you see a copy of Saint Gertrude's reliquary? So, the original is gone for a long time. People come to us from all over the world to look at it. There are other copies that only we have left, and the originals died in World War II.

- That is, wars, tsunamis, revolutions work for the benefit of museums?

- It sounds cynical, but it is. If the originals disappear from other collections, our copies will become invaluable.

How the bishop was healed

The curator of the museum has been taking a photographer and me through the halls for the second hour. Talking about the museum as you need to talk about it - with interest and details. Tour guides can tell a lot that is not written on the information boards.

For example, that the boring Dutchman Jan Van Der Heyden from the 11th hall is not just an artist, but also the inventor of the fire hose (which, you must agree, gives him charm). And the brooch from Troy exhibited in the 3rd room is, though valuable, but not as valuable as the lens that is pointed at it - after all, it is 4000 years old. Only from the guides can you learn that the weighty pedestal in the center of the Italian courtyard, on which a Christmas tree is erected on New Year's Eve, is the shaft of the old ventilation system. Or that unpainted parts of the walls were deliberately left in order to restore the historical (still Tsvetaevsky) color during the next reconstruction. We go into one of the halls with European painting. Alexandra brings us to the picture.

What are the gods with the heads of beasts worth ?! It is quite easy to touch this ancient and mysterious culture in the modern metropolis, at our service are halls with laconic names "The Art of Ancient Egypt" and "Hellenistic and Roman Egypt, Coptic Art", numbers 1 and 6, respectively. In order to preserve the freshness of perception, we advise you to take the scheme of the museum or ask the way from the local ministers, believe me, it's worth it.

Here, even the room itself is stylized to resemble Ancient Egypt: "reed" columns, paintings on the ceiling, patterned floor. Among the exhibits are originals from 4 thousand BC, such antiquity is breathtaking! In the halls of the museum you can see statues, reliefs, mummies of people and animals, household items, amulets, vessels and jewelry. In addition to statuettes and sarcophagi, the model of a funeral boat and a cosmetic spoon in the form of a floating girl, and of course papyri (for example, an excerpt from the “Book of the Dead”) are impressive. From the more “modern”, magnificent Coptic fabrics and masks, all of the finest workmanship and admirable. Meanwhile, imbued with exoticism, we continue our walk!

A. VENEDIKTOV: It is already 10:17 in Moscow, and literally in 2 minutes we will have the Museum Chambers. And our guest will be Olga Vasilieva, head of the department of ancient Egypt at the Pushkin Museum. Let's talk about mummies, scarabs, and pyramids, and what actually is in this room. While I would like to play books with you, too, as before, but now on ancient Egypt. And my question will be this. What a sacred and beloved animal was widespread in Egypt. It was not only sacred, because crocodiles were also sacred, as you know. But speaking about the sacred and beloved animal, which was widespread in Egypt, you can tell me about it by sending me an SMS at + 7-985-970-45-45. And we are playing the books by Dmitry Meeks and Christine Favar-Meeks "The Daily Life of the Egyptian Gods." It turns out that the Egyptian gods also had a daily life. 10 copies, Molodaya Gvardiya publishing house, 2008. So, "The Daily Life of the Egyptian Gods." What a sacred and beloved animal was widespread in Egypt. + 7-985-970-45-45. And I remind you that today is still the day of memory of Vladimir Vysotsky.

A. VENEDIKTOV: You are listening to Museum Chambers. Olga Vasilieva, Head of the Department of Ancient Egypt of the Pushkin Museum, is our guest. Good morning.

O. VASILIEVA: Good morning, hello.

A. VENEDIKTOV: First question, what is your favorite exhibit in the Museum of Ancient Egypt?

O. VASILIEVA: You know, my favorite exhibit is those statuettes that meet us at the entrance to the hall, unique wooden figurines of the priest Amenhotep and his wife Rannai. Amazing things, and really unique, because there are very few of them in the world. And I am very glad that our museum also has such things.

A. VENEDIKTOV: Where did they come from?

O. VASILIEVA: They were found in a cache in the Karnak temple - this is a huge cache where all sorts of figurines were literally dumped, and other, fragments of limestone, written documents were found, including these paired figurines.

A. VENEDIKTOV: What do you mean dumped? Are they dumping into hiding places?

O. VASILIEVA: Yes, because for the sake of safety. The fact is that these figures are vative offerings, that is, offerings as a gift to the gods in order for these people to be present before God. This was the god Amon, the main god in the Karnak temple. But when there were a lot of such figures, the priests tried to save them from any encroachments, and such did happen, and arranged such caches. But the safety of these hiding places was also violated, they rummaged, unfortunately, and therefore, when archaeologists discovered them, such a confusion reigned there. Golenishchev managed to acquire these figures. This is Vladimir Semyonovich Golenishchev, this is the person who created our Egyptian collection. And thanks to his skill, he knew Arabic perfectly, he knew how to find the right people who sold him these valuable things. Therefore, he came across such "Black" archaeologists, so to speak in modern language, who are engaged in illegal excavations. But the fact is that in Egypt at that time, that is, this is the end of the 19th century, a lot of excavations were black. And some Arab, we do not know his name, sold just these figures to Golenishchev.

A. VENEDIKTOV: Are they in the museum now?

O. VASILIEVA: Yes, now they are standing in our hall, as soon as you enter it, right in the window under a glass bell you see these people standing.

A. VENEDIKTOV: You said that they are rare, and why are they rare, if all the Egyptians should have all appeared before the gods, then there should have been a lot of these figures.

O. VASILIEVA: First, not all, only high-ranking Egyptians had such a privilege. In this case, this is a priest, one of the main priests of the temple of Amun, his wife, who was the singer of the god Amun. She sang hymns, played the harp.

A. VENEDIKTOV: Is it all in the temples?

O. VASILIEVA: Yes, in the church. And only very rich people could afford to make such figurines. And safety, you know, unfortunately, few things survived in Egypt. This is especially true for wooden things.

A. VENEDIKTOV: I just wanted to ask, where is the tree from?

O. VASILIEVA: I will say this later. There was, of course, a lot of wood, and acacia and fig trees, but these things are made of a very rare species of wood. It is ebony, but there are a lot of ebony species in Africa. And from Nubia, the country of Kush, they brought this tree. That is, its price was enormous, it was even higher than gold.

A. VENEDIKTOV: There was more gold than wood, at least we know that.

O. VASILIEVA: Yes, that's why these are really rare things, and they are made with amazing skill. These are truly masterpieces. Now, if you look at them, they are as if they were alive. This is the amazing property of the Egyptian portrait. On the one hand, a frozen mask-like face, on the other hand, lively eyes that look so surprised at you, and, as it were, through you.

A. VENEDIKTOV: How old are they, these statuettes?

O. VASILIEVA: You know, this is the 15th century BC. This is the era of Queen Hatshipsud.

A. VENEDIKTOV: That is 3.5 thousand years in total?

O. VASILIEVA: Yes, by Egyptian standards, everything, but by ours, a lot.

A. VENEDIKTOV: I remind our listeners that we are playing the books “The Daily Life of the Egyptian Gods”. And the question was: what a sacred and beloved animal, but it is unlikely, as they answer me here, that the speedy was a favorite animal, and it is unlikely that a speedy animal can be called an animal, but also a beloved one is also doubtful, sacred, yes, but they treated him with caution. Have seen the movie "The Mummy", you know. Our listener, who asks you a question via the Internet. He asks: “In the Egyptian hall to the left of the entrance hangs a very strange image of the god Anubis. The head there is a dog's, and the human body is drawn in a completely different way from the traditional Egyptian style. Tell us. "

O. VASILIEVA: As I understand it, this is the first hall that is at the entrance to the museum. Because if you enter the Egyptian hall, nothing hangs there to the left of the entrance, but the first hall that meets us is the hall of Greco-Roman Egypt of late. This is Hellenistic Egypt, where the Fayum portraits are.

A. VENEDIKTOV: Yes. By the way, he asks about the Fayum portraits.

O. VASILIEVA: Probably this hall is meant. There is a wonderful thing hanging there, it is a burial shroud, or a shroud, in which the deceased was wrapped, and it is framed like a painting, that is, inserted into a frame under glass. By the way, this is Golenishchev's frame, from those times. It depicts a deceased Roman, he is in such a white toga, and indeed he is accompanied to the kingdom of the dead by two deities, Siris in the form of a mummy, and that same Anubis.

A. VENEDIKTOV: In theory, Anubis with a jackal's head. As viewers of The Mummy, we need to know.

O. VASILIEVA: Indeed, it is the head of a jackal. This is the absolute jackal Anubis, and he has such a solar disk on his head. As for the attire, the human body there is also quite in the traditions of the Egyptian, because it is all so twisted, there is both a profile and a full face, these images, traditional for Egypt, are combined. But in general, this veil is already late, this is Roman time, the 2nd century AD, and of course there are already some mixed elements, they are observed.

A. VENEDIKTOV: Olga, tell me, please, I have a feeling that nowhere, even in Greece, even in Rome, were the gods nowhere in the everyday life of people. There were some crazy numbers of them. But even among the Greeks, you will say that there was an insane amount, but I remember that at school we studied a whole paragraph. There was a paragraph about the Greek gods, and about the Egyptian gods. Indeed, was it such an ordinary and everyday thing, or was it something mysterious, mystical, monstrous?

O. VASILIEVA: You know, they are right, and I must say, the Greeks themselves admired the piety of the Egyptians, this is their adherence to the gods. And Herodotus, in the second book of his history, wrote that the Egyptians are the most religious people on earth. And I think he is right. I think that the Greeks also worshiped the gods in their everyday life. But the Egyptians tried to sanctify every moment of their lives, and they had such small domestic sanctuaries why. Because, unlike the Greeks, who could freely go to the temple, make sacrifices, this is known. The Egyptian could not come to the temple just like that, he could only come to the first hall, open to the common people, and already into the sanctuary itself he could not enter, only the priest entered there. Accordingly, he could not make a sacrifice. Strictly speaking, even a priest could not make a sacrifice, but the king did.

A. VENEDIKTOV: Didn't the priests sacrifice?

O. VASILIEVA: The priests on behalf of the tsar only made a sacrifice. So the Egyptian must somehow pray to God, so he is at home, or near the temples sometimes such chapels were built, and there pilgrims could honor the deity, bring their gifts. In this way, therefore, this is probably true, but I think that it should not be exaggerated either. There was some kind of folk religion.

A. VENEDIKTOV: About the folk religion. Our listeners answered mostly correctly to the question, there were some speed-ups. Let me remind you that I asked a question: what sacred and beloved animal was widespread in Egypt. We were giving away 10 copies of The Daily Life of the Egyptian Gods. These are translated books by Dmitry Meeks and Kristin Favar-Meeks of the Molodaya Gvardiya publishing house. Our winners, Lika 567, telephone starts, Lera 465, Vladimir 492, Polina 312, Timofey 068, Liza 951, Valentina 162, Natalya 910, Taisiya 345, Vera 564. Mostly women, I draw your attention, who answered correctly that cats.

O. VASILIEVA: By the way, it is typical that women, because the cat is the embodiment of the goddess Bastat, the patroness of women.

A. VENEDIKTOV: I found that about 300 thousand cat mummies were found near Memphis.

O. VASILIEVA: Near Memphis?

A. VENEDIKTOV: Near Memphis.

O. VASILIEVA: In general, the center of the cult of this goddess Bubastis.

A. VENEDIKTOV: There is also a city of Benikhasan, there are 180 thousand there. And I found such a wonderful story that the export of cats from Egypt was prohibited then. It is a myth?

O. VASILIEVA: Nevertheless, the Greeks took them to Greece.

A. VENEDIKTOV: When did the Greeks come?

O. VASILIEVA: Then yes, a cat appeared in Greece, but the Greeks appeared from the 6th century BC.

A. VENEDIKTOV: Cats, that was the right answer, we will interrupt for the news, and then we will continue our conversation with Olga Vasilyeva, and you prepare your questions, send them, and I will turn on the phone.

The news is coming.

A. VENEDIKTOV: 10:35 am in Moscow, Ksenia Larina is on vacation. Let me remind you that now at this place from 10 to 11 am "Museum Chambers" come out together with the Tsvetaevsky Museum, or the Museum named after Alexander Pushkin. We will have such a mini-series. Today we are talking about ancient Egypt, a week later we are talking about the Greek hall, and a week later about the Roman hall. Naturally, the museum staff will come. Our guest is Olga Vasilieva, head of the department of ancient Egypt at the Pushkin Museum. By phone 363-36-59 you can ask Olga questions about ancient Egypt and the hall of the Pushkin Museum. You can ask, Vadim has already asked us here, there are also questions on SMS. "Is it true that the pharaohs consumed hashish"?

O. VASILIEVA: Hashish? No, you know, this is unknown.

A. VENEDIKTOV: Let's put it this way, is it true that they got stoned and brought themselves to a trance, or are they priests?

O. VASILIEVA: No, you know, it is unknown, tobacco was unknown. As for the trance of the priests, you know, this is a difficult question.

A. VENEDIKTOV: Why?

O. VASILIEVA: I'll explain now. The fact is that there are such rituals among the Egyptian priests that resemble shamanic ones. The priest falls asleep, he has some kind of visions, then he wakes up. But these are really very important rituals, ceremonies. But what the priests used is unknown.

A. VENEDIKTOV: That is, were there any hallucinogens?

O. VASILIEVA: Yes, whether he took something to fall asleep or not. It's a difficult question.

O. VASILIEVA: You know, Prus's novel "Pharaoh" is good, although there are some inaccuracies in it, but indeed it is in any novel. You know, Christian Jacques, here is his series about Ramesses.

A. VENEDIKTOV: It is published in Russian.

O. VASILIEVA: Yes. Although, perhaps, he is a little too long, but, in any case, he is a popularizer and an Egyptologist, so you can read.

A. VENEDIKTOV: Remember, Christian Jacques. Before we go any further, I want to play another, this time the computer game "Anthology of Civilization 6", there is about ancient Egypt. Let me remind you that this is a computer game, and only those who are interested in computer games play them. Firm "1C" presented us 10 copies. And the question is very simple, on SMS + 7-985-970-45-45, which commander said: "The soldiers of 40 centuries are looking at you from the tops of these pyramids." Who said you send me the answer at + 7-985-970-45-45. Who said: "Soldiers, 40 centuries look at you from the tops of these pyramids." Was this commander, who has not been named for centuries, mistaken, or was this phrase written to him?

O. VASILIEVA: Why, he said it without a piece of paper.

A. VENEDIKTOV: Did you know?

O. VASILIEVA: Yes.

A. VENEDIKTOV: So, who said the phrase: “Soldiers, 40 centuries are looking at you from the tops of these pyramids”, + 7-985-970-45-45.

News release in progress.

A. VENEDIKTOV: Our guest is Olga Vasilieva, head of the department of ancient Egypt at the Pushkin Museum. Our correspondent Timur Olevsky went to the Egyptian hall and talked to the visitors why they came there, and what amazed them, surprised, amused, maybe. Timur Olevsky.

T. OLEVSKY: In the museum, it is customary to talk in a low voice, but this did not prevent the visitors of the hall from recalling the civilization that arose in the Nile Valley and telling about what has come down to the present day from the life of the Egyptians. So the decorator Elena from Stavropol came to Moscow specially to visit the Pushkin Museum to exchange experience with ancient creators.

ELENA: We use a lot of ornamental elements, tableware paintings, in iron, plastic. I know the meaning, there is no name. They deified animals, and believed that there was a great relationship between humans and animals.

T. OLEVSKY: Cold-blooded schoolboy Vladik knows about the mysterious ways of human remains.

VLADISLAV: Vessels where human organs were placed. They did this to preserve it, and they were guarded by a figurine of an eagle, the head of an eagle.

T. OLEVSKY: Fink College student Elena has her own feminine look. She found elements of modern subcultures in ancient Egypt. “By the way, men were then not what they are now,” she says.

Student ELENA: A lot of jewelry, gold, piercings, it seems to me, are taken from here, because all these temporal jewelry are very popular now. Embalming in our time has also come, all sorts of ladles, dishes. It was difficult for man to explain many natural phenomena, and he invented these unknown enemies, Basset, the sun god Ra. Naturally, then people were stronger than they are now. This is also related to the environment.

T. OLEVSKY: Ksenia, a student of the Chita Journalism Faculty, believes that the writing system of Egypt is not adapted to the present day.

KSENIYA: Egyptian gods and, of course, the burial ceremony. I like their writing, but I have not seen such hieroglyphs anywhere, this is such a writing system, but it seems to me that this is not very convenient for the modern world.

T. OLEVSKY: But schoolgirl Tatiana knows exactly where the principle of Egyptian literacy is used with great success.

TATIANA: They also painted on the walls at home, it all looks like comics.

T. OLEVSKY: By the way, about the pyramids, sensible Ksenia, a student of a Moscow school, knows something about the contacts of Egyptians with aliens.

Schoolgirl KSENIYA: There is, of course, a version that aliens helped them, and even on the temples there were such drawings, similar to the image of a spaceship. In general, everything is possible in life.

T. ALEVSKY: And the music teacher Evgenia Mikhailovna just wants to believe in UFOs. "By the way, mummies" - she said - "And in our time they lie nearby."

EVGENIYA MIKHAILOVNA: But what about our Vladimir Ilyich, he is right there. There are so many theories, and so I want to believe in some kind of alien. We even want to, we understand, there were complex mechanisms, but I think it was not without heavenly forces, someone helped create an extraordinary mechanism, the essence of which we still do not know.

T. ALEVSKY: But the student of the 2nd grade Ira is not afraid of mummies at all, and has no doubts that very smart people lived in ancient Egypt.

IRINA: The most interesting thing is the mummies, as they were made there, they are inanimate, but actually they could do a lot of things. All these colors have survived, they were very many centuries ago, very surprising. All these squiggles, it is all to write out like this so that it remains in the brain, it is very difficult. I think they did it themselves, because they were very smart, but it was very difficult.

T. OLEVSKY: Let me add that, in the opinion of visitors to the Egyptian hall of the Pushkin Museum, we meet the fruits of ancient civilization in our time more often than it might seem at first glance.

A. VENEDIKTOV: Olga Vasilyeva, you are the head of the ancient Egypt department of the Pushkin Museum. Here are your visitors, what do you say? Completely random, as you can imagine.

O. VASILIEVA: Very interesting. But I very often came across the fact that when you ask: "What did you like the most," especially with children, they immediately answer that it is a mummy. I immediately ask again: "And from the artistic monuments, maybe some figurines."

A. VENEDIKTOV: Why don't you like mummies?

O. VASILIEVA: You know, a mummy is also a work of art, of course, but a little different, then mummies were not only in Egypt, other mummies are also known. But Lenin's example is completely inappropriate here, because a mummy is still a dried body, and here the technology for preserving the body is different. Such interests are very typical, and what we really associate with Egypt are mummies, pyramids, hieroglyphs, and sacred animals.

A. VENEDIKTOV: This is a school course.

O. VASILIEVA: I believe that this is absolutely correct, because there are indeed such elements of Egyptian civilization.

A. VENEDIKTOV: Olya, what are people missing?

O. VASILIEVA: I just started my conversation with my favorite monument, but it’s not my favorite because it’s the only one, and I don’t love anything else. It seems to me that it is worth paying attention not only to the world of the dead, not only we come and see the mummies, we also have the head of a female mummy there, very scary, but also to meet the world of the living. This world is also represented. He also depicts people on the reliefs. Here we are looking into the eyes of Amenhotep, Rannai. These are the people who were very famous at the time. Although many thousands of years have passed. It seems to me that we have to switch to the Egyptian portrait, to the faces of Ancient Egypt, and this can give us a lot. Because these are faces that have remained in eternity. Egyptian artists were able to preserve the appearance of these people forever, these images, it is amazing. Not to mention the Fayum portraits, this is a different Greek tradition. But they took from Egypt this desire to immortalize a person in the literal sense of the word, this is not a metaphor. Because the Egyptians believed that by creating a statue, they preserve a double of a person, this is his immortal essence. This is very important, it is very often overlooked, but it is very important.

A. VENEDIKTOV: Is it a portrait thing, or is it an average Egypt?

O. VASILIEVA: In our sense of the word, of course, this is not a portrait, it is easy to notice, this is a stylized image, idealization, it resembles a mask, I have already spoken about this. We also have a portrait mask of Pharaoh Pepi II, an amazing and unique thing, too, there is no other such in the world. There is a strange feeling. On the one hand, he has some kind of motionless, frozen face, and on the other hand, the features of an ordinary person, we seem to recognize him.

A. VENEDIKTOV: They differ anyway.

O. VASILIEVA: Yes, we recognize them, here is this person, here is another. But the Egyptians still always signed the statue, they tried to be sure, because the name is a very important element. Of course, if the statue is not signed, then of course it may be some kind of person, as long as he is remembered, but as soon as he is forgotten, it is already difficult to identify. And when he has a name, then you immediately read that such and such a priest, and we kind of revive him.

A. VENEDIKTOV: I drew attention to what the girl student said about cosmetics and piercings. Is it really so, was it a special art? Why did she pay attention to this?

O. VASILIEVA: Girls are interested in this.

A. VENEDIKTOV: Wait, it's not that easy. If it hadn't been outstanding, I would have slipped past.

O. VASILIEVA: You know, yes, cosmetics, they were used in ancient times, especially eyeliner, and we see an imitation of eyeliner on the sarcophagi.

A. VENEDIKTOV: Why?

O. VASILIEVA: This is a special paint, this is fat, a mixture of crushed malachite, soot, and not only for beauty, by the way, but to keep the eyes from the wind, from the heat. Arabs still paint their eyes.

A. VENEDIKTOV: Is it just to close the tender part?

O. VASILIEVA: For hygienic reasons, including. Both men and women have used it. As for the piercing, you know that the pierced ears, these are the earrings, they came from Asian countries. This is the era of the Middle Kingdom, when there were already contacts with Palestine, with Syria, this is the time. In the ancient kingdom it was not. There were such temporal rings on wigs, they were attached like clips.

A. VENEDIKTOV: A few words about wigs. At one time, and I think that many of our listeners do not know that this black hair of the Egyptians is, in general, wigs.

O. VASILIEVA: Wigs, but they had their own hair too, but the men shaved, of course. As for the women, they did not shave bald, they cut their hair.

A. VENEDIKTOV: Is it from the heat?

O. VASILIEVA: Yes, first of all, the ventilation of the head is running, and I apologize, they somehow get rid of insects in parallel. Plus, of course, ceremonial wigs, this is an element of such a status rather. Because ordinary people, when they worked in the field, they simply tied some kind of scarf, like a turban, they did something. And noble ladies and nobles, they wore wigs, just like we did in the XYIII century, at receptions, or where they went solemnly, they always wore wigs. And on some statues it is clearly visible, this is such a bang, your hair, it peeps out from under the wig.

A. VENEDIKTOV: So they even depicted it on statues?

O. VASILIEVA: Yes, it was noted.

A. VENEDIKTOV: They just showed that it was a wig.

O. VASILIEVA: Yes, that she is not shaved.

A. VENEDIKTOV: Tell me, please, but the Egyptian collection of the Pushkin Museum, is it replenishing, or not replenishing, is it already sufficient, or is there simply nothing to replenish now?

O. VASILIEVA: You know, it was replenished for the last time, unfortunately, in the mid-90s. literally a few things were bought, Ushepti, statuettes of Ushepti's servants, from a private collector.

A. VENEDIKTOV: Russian?

O. VASILIEVA: Yes, Russian. I must admit that, alas, the collection is currently not being replenished for financial reasons.

A. VENEDIKTOV: Is there something that you would like in the collection?

O. VASILIEVA: I think there is.

A. VENEDIKTOV: I understand that you want Tutankhamun.

O. VASILIEVA: Why, let him stay in Cairo.

A. VENEDIKTOV: What is not systemic, what does not make the collection complete?

O. VASILIEVA: Firstly, our collection is complete in any sense.

A. VENEDIKTOV: In which one?

O. VASILIEVA: It presents all periods, starting from the archaic period, the 4th millennium, all sorts of clay vessels, palettes, and so on, until the very latest, to the Faim portraits. It is really very valuable, but our things are small, not very large, like in museums in the world, and we practically do not have the Amarna era, this mysterious period, the period of Pharaoh Yeritikai Akhenaten.

A. VENEDIKTOV: Does anyone have it, I wanted to ask?

O. VASILIEVA: There are few such things at all, but there is the largest collection in the Berlin museum, in Cairo, in the Louvre, and in the British one there are also several. But Berlin and Cairo are the largest museums.

A. VENEDIKTOV: Olya, what do you have in your storerooms that they don't see, what is not on display now?

O. VASILIEVA: About 900 items are on display now. The Golenishchev collection is over 6 thousand. You yourself can imagine how much we have in our storerooms, that is, there will be enough for about three more rooms. But we tried to exhibit the most significant things and monuments, this is what I call unique. But, of course, some things, unique and unique in the world, are not exhibited for whatever reasons. For example, the Golenishchev papyrus with a record of the priest's travels in the Bible. The so-called Unu-Amon papyrus is known to all historians, because he is literally one in the world, and there is no other. But you understand, if you put it in the hall, it will not be entirely clear. It will be necessary to explain, you need to expose some kind of explication.

A. VENEDIKTOV: What does it look like?

O. VASILIEVA: It is under glass, in such a frame.

A. VENEDIKTOV: This is not a package?

O. VASILIEVA: Of course, this is not a scroll, all the papyri are unfolded, otherwise they are poorly preserved in our climate.

A. VENEDIKTOV: Are they poorly preserved in scrolls?

O. VASILIEVA: Yes, they break, mold, and so on. In Egypt, they persisted, we do not, we have a different climate. Our humidity is colossal, it is all rotting, unfortunately. Therefore, they are under special glass, and we have a lot of such papyri in our storeroom; only two papyri are exhibited in the hall. I remind you that our guest in the Museum Chambers program is Olga Vasilieva, head of the Ancient Egypt Department of the Pushkin Museum. If you have any questions, you can ask them over the phone. Now I'll turn on the phone 363-36-59. remind you that this is ancient Egypt we have today. In general, about everything is not necessary, if possible.

O. VASILIEVA: Better about the hall, what interests you.

A. VENEDIKTOV: Now let's ask. Olya, put on your headphones. Live telephone 363-36-59, hello, hello.

Listener: Good afternoon. My name is Sergey, and I have a question for the guest of your program. Concerning women's jewelry, specifically earrings. You said that this is a later period, and it is unusual for Ancient Egypt. You have a mummy in the hall, the head of a woman, and it is with an earring.

A. VENEDIKTOV: Ah, well done Sergey, I caught it, thank you very much.

O. VASILIEVA: It is always pleasant when they are caught.

A. VENEDIKTOV: This must be remembered as he remembers it. Is she with an earring?

O. VASILIEVA: Yes, she has an earring, and a lock of hair has been preserved there. Great question, but the mummy belongs to the era of the new kingdom. I said the pierced ears are from the Middle Kingdom. The entire history of Egypt is divided into periods.

A. VENEDIKTOV: So it's later?

O. VASILIEVA: Of course later.

A. VENEDIKTOV: Nevertheless, thank you Sergey for saying such a subtlety, noticed, and I can't even remember. Next question. Hello, hello, you are live, what is your name?

Listener2: Hello, my name is Roman, I am from Moscow. I would like to ask Olga a question. Question. I remembered the movie "Pharaoh". The intrigue of the film was that ... In my opinion, a Polish film.

A. VENEDIKTOV: Yes, absolutely definitely, a Polish film. Speak.

Listener2: And there the intrigue of the film was in the confrontation between the pharaoh, or rather the son of pharaoh, and the clergy. And he, in the end, lost the confrontation. At the same time, completely different versions were expressed in other sources, in particular in popular science films of the BBC. How realistic was the balance of power between the secular government and the clergy?

O. VASILIEVA: The fact is that this period, indeed according to Roman Pruso, is the end of the era of the new kingdom. Between these eras, about which I spoke, there were epochs of the country's collapse, these are the transition periods, and then conflicts took place. This is absolutely true, but a little there, the death of Pharaoh is not historical, after all, this murder, conspiracy, and so on has not been recorded. As for the balance of power, difficulties could arise here, because the Theban priesthood was very strong. And the example of Akhenaten tells us that the conflicts were very serious. But in general, according to the Egyptian worldview, ideas about power, there should be no conflicts, because the high priest is the king, I repeat again.

A. VENEDIKTOV: Is Pharaoh the high priest?

O. VASILIEVA: Yes, only he regulates, only he can pray to the gods, nobody else. Therefore, he is a central figure everywhere, both in administration and in spiritual life.

A. VENEDIKTOV: You should have asked Olga about the museum, otherwise we’ll start leaving now. If you have a question about a museum, here are those who have been to the museum, those who have not been to the museum, it is clear that you have to go. Ask questions. 363-36-59. Hello, hello. What is your name?

Listener 3: Hello. Please, a few words about the Fayum portraits. My name is Yulia, I am from Moscow.

O. VASILIEVA: You know, the Fayum portrait, the name comes from the oasis in northern Egypt Fayum, but in general such things are found in other regions of Egypt, not only in Fayum. Their purpose was different. This is a unique technique on thin boards, Encaustic wax paints. There is a temper technique, that is, there is not wax, but egg white as a connecting link. It is believed that these portraits were painted during his lifetime, they really look like living things, they are looking at us. Some portraits were exhibited in mummies, that is, instead of a mask, just like a face in order to preserve the imperishable image of a person. But some portraits, it is noticeable, they were inserted into frames and hung on the walls. This is analogous to our photographs, our portraits.

A. VENEDIKTOV: I would say that the posters.

O. VASILIEVA: Maybe a poster, but there was such an application too. There were also some kind of paintings, or icons, as they can be called, images of the gods. It's just that it's not on display in our hall.

A. VENEDIKTOV: But is it there?

O. VASILIEVA: It is in the storeroom, it is very poorly preserved, so it cannot be displayed, but it is there.

A. VENEDIKTOV: But this is not in the hall of ancient Egypt?

O. VASILIEVA: Yes, it is in the Greco-Roman hall, where this shroud with Anubis is.

A. VENEDIKTOV: We are just paying attention to this. Before taking the last call, and, if possible, a shorter question, say right away that "Soldiers of 40 centuries", Napoleon said this phrase. And our winners, who receive a computer game "Civilization-6" of the company "1C", Vladimir, whose phone number starts at 506, Dmitry 367, Pavel 543, Boris 673, Svetlana 209, Katya 779, today they are lucky to Katya, Alexander 659, Oksana 270, Yura 246, and Natalya 221. Let's hear another call, if you don't mind. Hello, hello, you are live, what is your name?

Listener 4: Hello, Lyudmila. I’m wondering if there are such tickets with excursions, here’s how to buy them, because I’m already 2 years late to buy them.

A. VENEDIKTOV: Subscriptions with excursions as a whole, as I understand it.

O. VASILIEVA: You know, first of all, there is a children's subscription, as I understand it.

A. VENEDIKTOV: This is very important.

O. VASILIEVA: Unfortunately, we have a long queue, applications are accepted twice a year, try calling now, but I will not tell you the phone number to the administration, I don’t remember. This phone number will be indicated to you in the excursion bureau, and they will explain how to do it. It is better to know the whole procedure in advance, and there are still subscriptions for the talks in the halls. This is for a mixed audience, not just kids but adults as well. We drive through different halls, including the hall of Ancient Egypt. This usually happens in the fall, in October.

A. VENEDIKTOV: Lyudmila, in a week, when they come to us in the Greek hall, I will tell you all the phones and show them. Let's make another call, but very quickly. Hello, hello, you are live, what is your name?

Listener 5: Vladimir, Moscow Region. A question to the specialist Olga about the Fayum portraits. Why are there young faces, why are there no deep old people?

A. VENEDIKTOV: Thank you Vladimir.

O. VASILIEVA: They exist, we just do not have such old people in our congregation. In general, there are images of gray-haired, old people, but in principle, this may be an Egyptian tradition, because it was important to keep a person forever young, young, in a flourishing age, it is possible. But I repeat once again, such images are known.

A. VENEDIKTOV: Thank you very much, Olga Vasilieva, Head of the Ancient Egypt Department of the Pushkin Museum. Our "Museum Chambers" will continue next week at 10 am. We will talk about your favorite Greek Hall. Olga, thank you very much.

O. VASILIEVA: Thank you.

A. VENEDIKTOV: And of course I advise everyone, and as a former teacher, come to the Egyptian hall. Of course, you will not find there what the pharaohs used, as Vadim asked with a persistence worthy of a better application, but you will find many unexpected things there?

O. VASILIEVA: Certainly.

A. VENEDIKTOV: These were the "Museum Chambers". Goodbye.