BEGIN:VCALENDAR VERSION:2.0 PRODID:-//InvisionCommunity Events 5.0.18//EN METHOD:PUBLISH CALSCALE:GREGORIAN REFRESH-INTERVAL:PT15M X-PUBLISHED-TTL:PT15M X-WR-CALNAME:RMCommunityCalendar NAME:RMCommunityCalendar BEGIN:VTIMEZONE TZID:Europe/London TZURL:https://tzurl.org/zoneinfo/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20250330T020000Z RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20251026T020000Z RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT SUMMARY:Padiamenope- the crafter of Taharqa 02/08/2025 DTSTAMP:20250208T165002Z SEQUENCE:0 UID:190-7-c3fe8195a3dde498d013e477e2142422@aalbc.com ORGANIZER;CN="richardmurray":noreply@aalbc.com DESCRIPTION:\n Padiamenope- the crafter of Taharqa 02/08/2025\n\n\n\n ht tps://aalbc.com/tc/profile/6477-richardmurray/?status=2840&\;type=statu s\n\n\n\n \n\n\n\n  \n\n\n\n Padiamenope\n\n My Thoughts\n\n\n\n Padiamen ope\, the servant of Taharqa\, a nubian pharoah\, all pharoahs before the ptolomies are black. Padiamenope made an extensive grave for himself. Of course it was the Nubians. The people of Kemet + Nubians are cousin people s. I consider Egyptians the hybrid people of Kemet side the whites of euro pe or asia from the hellenistic period.  Lovely explanation of the proces s of comprehending Kemet from greek through coptic and comparison. \n\n\n \n VIDEO - preview- transcript is complete\n\n\n\n \n\n\n\n \n\n UNIFORM R ESOURCE LOCATOR\n\n https://www.pbs.org/wnet/secrets/decoding-hieroglyphic s-preview-7jqfn5/6330/\n\n\n\n TRANSCRIPT- the complete show\n\n\n\n  \n\ n\n\n ♪♪ ♪♪ ♪♪ -Egypt\, land of countless ancient treasures fo und inside its pyramids and temples.\n\nThe walls of these monuments are c overed with mysterious inscriptions left by ancient Egyptians -- hieroglyp hics.\n\n-Hieroglyphs are perhaps a writing that has been used for the lon gest time in the history of the world.\n\nBecause they were used for well over 3\,000 years.\n\n-200 years ago\, French scholar Jean-François Champ ollion deciphered the inscriptions\, giving meaning to the signs that had been unreadable for more than a millennium.\n\nAnd with his work\, an enti re civilization buried in the desert sand was brought back to life.\n\nTod ay\, new research is focused on the people who wrote these hieroglyphs -- a literate elite employed by the pharaohs.\n\nThey were priests\, scribes\ , painters\, engravers\, and builders of tombs.\n\nIn the south of Egypt\, scientists are studying a palace filled with hieroglyphics\, the only tom b built for a non-royal in the necropolis and the largest in all of Egypt. \n\n-How was this man able to build this incredible monument?\n\n-Egyptolo gists have battled the stifling heat to reach the darkest depths of the to mb and unlock the secrets of the ancient inscriptions.\n\n♪♪ ♪ ♪ ♪♪ -Along the Nile\, 400 miles from the ancient political capital of Memphis -- Cairo\, today -- lies Thebes\, modern-day Luxor.\n\nHere\, o n the west bank\, pharaohs constructed sumptuous tombs.\n\nThe vast necrop olis includes at least a dozen ancient funerary temples and burial sites b elonging to royalty\, including Queen Hatshepsut.\n\nSurprisingly\, Egypto logists have found that the largest tomb at the site -- and in the country -- wasn't built for a pharaoh\, despite its immense size.\n\nArcheologist s have named it \"TT33\,\" for \"Theban tomb 33\,\" and they hope to make new discoveries by translating the monument's hieroglyphics.\n\n♪♪ Pro fessor Claude Traunecker has been studying TT33 for the past 17 years\, un der the aegis of the French Institute of Oriental Archaeology in Cairo.\n\ nHe is joined by Silvia Einaudi and Isabelle Régen\, two Egyptologists an d renowned epigraphists\, whose job it is to copy\, translate\, and interp ret the texts.\n\nOn this trip\, they have only four weeks to exhume the l atest treasures and safeguard the thousands of texts carved into the walls ... [ Conversing in native language ] ♪♪ ...of a tomb well-known to th e adventurers who risked their lives exploring it.\n\n-[ Speaking French ] -Lots of people visited it as the region's great curiosity\, with its leg end of being a cursed and dangerous tomb.\n\nThere were very large colonie s of bats here.\n\nAnd when people came in\, the bats would fly out\, caus ing accidents.\n\nPeople only had candlelight\, so a number of them fell d own the shaft of Room XII when the wind from the bats' wings blew out thei r candles.\n\n-But who did this imposing and mysterious tomb belong to?\n\ n-Pa-di-imen-ipet.\n\nPadiamenope.\n\n-Padiamenope.\n\n-[ Speaking French ] -In the first two passageways\, there's always an image of Padiamenope\, looking towards the entrance to the tomb as if he were greeting visitors. \n\n-His name and image appear all over the walls.\n\nThere can be no doub t -- this is his final resting place.\n\nFor almost a century\, exploratio n of the tomb stopped at Room III because archaeologists built a wall at t he entrance to Room IV to shut in the bats.\n\n-[ Speaking French ] -There 's a nice little article by Maspero that says\, \"We walled in Padiamenope 's tomb because of the bats.\n\nI hope that when it's reopened\, we'll fin ally find out who Padiamenope was.\"\n\nAnd I made use of this text to hav e the tomb opened again.\n\n-In December 2005\, after Traunecker obtained authorization to break down the wall and access the rest of the tomb\, he entered a space that had been closed for a century.\n\nThe decomposed bodi es of millions of bats had saturated the air with ammonia\, making it unbr eathable.\n\nThe floor and walls were badly degraded\, but when the profes sor looked more closely\, he realized he'd discovered a priceless treasure .\n\n-[ Speaking French ] -It was a revelation!\n\nEspecially this word of greeting that I discovered.\n\nI remember\, when I saw it\, I had tears i n my eyes.\n\nAn appeal to the living.\n\n\"O\, you who are on earth\, tho se who are born...\" This marks the future -- \"Er-mes-tu.\"\n\n\"...and t hose who will be born.\"\n\nIt's quite incredible!\n\nAnd it interestingly goes on to address \"Those who come to stroll.\"\n\nComing to the necropo lis for a stroll -- not bad!\n\n\"Those who come to have fun looking at an cient tombs.\"\n\nThis dates from the 7th century BCE\, so there had alrea dy been 2\,000 years of tombs before then!\n\n\"Or those who come looking for spells.\"\n\nThat's us.\n\nThat's us.\n\nWhen I read that\, I must adm it\, I was moved to tears.\n\n\"Those looking for spells.\"\n\nAnd he goes on.\n\n\"May they observe what is in this tomb.\"\n\nAnd then there's a b lessing -- \"They will receive the blessing of the god Amun if they respec t this tomb.\"\n\nAnd finally\, he asks us to \"repair whatever is damaged .\"\n\nIt's a very daring\, direct message.\n\n♪♪ -The carvings on the walls of Padiamenope's tomb ask future visitors to keep it in good condit ion.\n\nEinaudi and Régen have spent 10 years investigating the tomb\, st udying the walls\, and wandering the maze of corridors that leads to the b urial chamber.\n\nUltimately\, their goal is to find answers to the many q uestions that still surround the figure of Padiamenope and create a cleare r picture of who this scribe and priest was.\n\nThey have already establis hed that the architectural style of the tomb places its construction at ar ound 700 BCE.\n\nTo learn more\, they must capture 3-D images of the entir e site\, 360 degrees around.\n\n-[ Speaking French ] -We're about to start the photogrammetry phase\, where we'll align the images and a cloud of do ts.\n\nThe images will be aligned by the photogrammetry software.\n\nIt in volves the recognition of counterpart pixels between each image.\n\nThen w e go on to the second phase\, which is meshing.\n\nHere\, the software pic ks up the millions of dots and joins them all together with little triangl es.\n\nAnd that gives the volume to the model.\n\n♪♪ So we're really m oving from 2-D to 3-D. Once we've composed the model\, we go on to the las t step -- compositing.\n\n-[ Speaking French ] -We'll decide on the camera movement and then the lighting and lighting moods... ...and finally the r endering of the tomb itself.\n\nHere\, the camera is on the outside\, and it allows us to see the exterior volumes of the tomb\, with all its archit ecture and depth.\n\nIn the other scenario\, we're on a virtual visit\, wi th the camera inside the tomb.\n\nHere we're in Room I\, as it is today\, in a degraded state.\n\nThese two camera features are quite complementary because they'll allow us to work out how we're going to work in the tomb.\ n\n♪♪ -For the first time\, the vast maze within TT33 is visible -- 22 rooms\, countless corridors\, and linked galleries... ...all spread acros s three levels buried more than 65 feet beneath the desert sands.\n\n28\,0 00 square feet of decorated walls\, every single one of them covered in hi eroglyphs.\n\nThe archaeologists face an immense challenge -- decoding the carvings that have been ravaged by time\, earthquakes\, looters\, and the environment.\n\nBut translating the inscriptions on the walls will shed n ew light on the tomb's enigmatic owner.\n\nWith a resting place larger and grander than that of the pharaohs\, Padiamenope was clearly an important member of Egyptian society.\n\nWhat kind of power did he wield?\n\n-[ Spea king French ] -Here we see his main title -- \"Rehrireb\" and \"Rehritep\, \" which mean \"lector-priest\" and \"chief\, or \"lector-priest\" and \"m aster of ceremonies\".\n\nPadiamenope must have been someone who knew anci ent Egypt's religious history very well\, along with the religious texts.\ n\n-[ Speaking French ] -He was the intermediary between\, let's say\, tho se who worked in the library\, who devised the rites\, who thought\, who c atalogued the papyri\, before going out before the crowd to conduct religi ous ceremonies.\n\nYou could say he was the link between religious theory and religious practice.\n\nAnd with what aim?\n\nTo appease the Egyptian p eople.\n\nBecause the Egyptians were so fearful.\n\nYou didn't build thing s like this without having a fear of death!\n\n-A statue of Padiamenope in the Cairo Museum portrays him as a scribe\, someone who belonged to the l iterate elite that held significant power over the rest of the population\ , which couldn't read or write.\n\nThe Louvre Museum in Paris is home to t he \"Seated Scribe\,\" a statue of a seated man holding a papyrus scroll a s a guardian of sacred knowledge\, like all scribes.\n\n-Egypt was governe d by a literate elite\, which we call \"scribes\,\" because they knew how to write.\n\nThis ability to write distinguished them from others.\n\nThe scribe's main job was to keep the accounts and write letters\, basically a dministrative tasks.\n\nThe more cultured among them wrote literature -- b ecause there was an Egyptian literature in the modern sense of the term -- while others ran libraries.\n\n♪♪ Basically\, hieroglyphs read from r ight to left.\n\nTo understand which way to read them\, you simply take a pictorial hieroglyph -- for example\, a quail chick.\n\nIt's looking to th e left\, which means you read from left to right and downwards in a column .\n\nIn another inscription\, it could be the opposite.\n\nFor example\, a round a door or a niche\, there might be\, on the left-hand side of the do or\, signs that show right to left\, or vice versa.\n\nIt's monumental wri ting which goes very well with architecture.\n\n-It is a complex and sophi sticated writing system.\n\nThe oldest examples of hieroglyphics date to a round 3200 BCE\, and\, based on archaeological evidence\, the pictorial ca rvings were used for nearly 3\,500 years.\n\nUse of these symbols slowly f aded as the Roman Empire took control of ancient Egypt.\n\nWhen the Romans officially adopted Christianity at the end of the 4th century\, the use o f hieroglyphics died out.\n\nIn the year 380\, the emperor Theodosius issu ed a decree effectively prohibiting all pagan worship.\n\nHieroglyphics we re central to the Egyptians' religion\, and once the religion was banned\, the need for a literate elite quickly ended\, leaving the 3\,000-year-old writing system to be buried in the sand for the next 1\,400 years.\n\nBut in 1798\, General Napoleon Bonaparte landed in Egypt.\n\nHe and his troop s were there to protect French trade interests\, but they were accompanied by a contingent of scientists and scholars sent to study the history and geography of the country.\n\nAnd in 1799\, in the small northern town of R osetta\, a soldier made a crucial discovery that would unlock the mysterio us inscriptions found on ancient walls and objects.\n\nLieutenant Pierre F rançois Xavier Bouchard found a stele dating from the 2nd century BCE\, c arved with a decree from King Ptolemy V. The text was written in three dif ferent scripts\, hieroglyphic\, Egyptian demotic -- a simplified cursive v ersion of hieroglyphs -- and ancient Greek.\n\n-Before we could read hiero glyphs\, looking at these monuments was a mystery\, and that's why there's so much esoterica that this has generated\, with people thinking that the se are all symbols\, that they don't have sound values\, so you could look at these monuments and not really understand things\, until Champollion c ame and unlocked this key\, this mystery.\n\nYou can see this cartouche\, which is this oval thing\, which held the name of the king\, and here you can see \"Pe-to-we-le-miis\,\" Ptolemy.\n\nSo this is the name of Ptolemy\ , and\, of course\, this is one of the crucial names that we have in Egypt ology not because of his importance\, but because his name was on the Rose tta stone and this was the first name to be deciphered.\n\n♪♪ -Two dec ades later\, linguist Jean-François Champollion began a new project -- de ciphering hieroglyphics.\n\n♪♪ As a scholar of ancient Greek\, he was able to read the name Ptolemy -- \"Ptolmaios\" in Greek -- on the Rosetta stone.\n\nHe then identified the corresponding cartouche with the name wri tten in hieroglyphics.\n\nThat allowed him to write the seven letters -- P -T-O-L-M-Y-S -- opposite the seven hieroglyphs.\n\nHe was able to read the cartouche of Queen Cleopatra by isolating the three symbols for L-O-P\, a lready identified in the Ptolemy cartouche.\n\nAnd then he matched the mis sing letters with the six unidentified hieroglyphs by comparing them to an obelisk inscribed with the queen's name in both hieroglyphics and ancient Greek.\n\n♪♪ The cartouches contained the phonetic transcriptions of Greek names\, but what could he do with the names of the pharaohs that rul ed before Greek colonization?\n\nAnd that's where Champollion's genius cam e into play.\n\n♪♪ The young scholar was a language enthusiast.\n\nAt just 13\, he studied Hebrew\, Arabic\, Syriac\, and Aramaic.\n\nAs an adul t\, he began to wonder if learning Coptic -- a late form of ancient Egypti an -- would help him understand the hieroglyphics.\n\n♪♪ -[ Speaking F rench ] -At the beginning of our era\, the Egyptians abandoned the hierogl yphic system and transcribed their language using the Greek alphabet.\n\nT hat's what we call Coptic.\n\nCoptic language and writing would then endur e in the liturgical texts of Coptic Orthodox Christians.\n\nIn the 19th ce ntury\, Champollion could read and write Coptic\, and he relied on this co ntinuity between the language transcribed by hieroglyphs and Coptic texts to unlock the secret of hieroglyphs.\n\n-With his understanding of Coptic\ , Champollion was able to translate a new cartouche\, in which he could id entify the letter \"S.\" And the first hieroglyph of the name seemed to be a sun\, which in Coptic is pronounced \"Ra.\"\n\nHe was just missing the hieroglyph in the middle.\n\nHe thought the name might be Rameses\, one of the greatest pharaohs\, whose memory lived on despite the disappearance o f hieroglyphics.\n\nChampollion immediately turned to another cartouche\, which began with an image of an ibis\, symbolizing the god Thoth.\n\nIf hi s theory about Rameses was correct\, the second symbol was perhaps an \"M. \" And the last sign he knew -- the \"S.\" So \"Thot-m-s\"?\n\nThutmose\, another famous pharaoh mentioned in Greek texts.\n\nChampollion had done i t.\n\nHe had cracked the hieroglyphic code.\n\nAnd he understood that the writing was both figurative and phonetic.\n\nIt would now be possible to s tudy ancient Egyptian society at a much deeper level.\n\n♪♪ ♪♪ [ I ndistinct conversations ] 200 years later\, the heirs of Champollion's dis coveries continue his work.\n\n-And just before\, you have the two points. \n\n-The extensive inscriptions on the walls of Padiamenope's tomb are now considered primary funerary texts\, collections of incantations to help t he deceased in the afterlife.\n\nPadiamenope left behind much more than a tomb.\n\nHe created a library of hieroglyphic texts\, unique in Egypt.\n\n The texts reveal the civilization myths of ancient Egypt\, describing how the society viewed the world.\n\nThey believed Ra\, the sun god\, fought o ff evil creatures who wanted to keep him a prisoner of the night.\n\nDurin g this expedition\, Isabelle Régen is determined to decipher the rest of the sacred text.\n\n-[ Speaking French ] -Here is the first hour of the Bo ok of Amduat.\n\nThe sun has just set.\n\nIt's gone into the depths of the earth.\n\nIn his night-boat\, with Iuf -- the nocturnal form of the sun w ith his ram's head.\n\nAnd before him\, kneeling in adoration\, is Padiame nope\, whose title and name are indicated here.\n\nThe sun god's night-boa t has an entire crew to help him safely reach the hour when he'll rise at the end of the night.\n\n-It seems that\, on the walls of his tomb\, Padia menope inserted himself into the story of Ra\, placing himself in the deit y's boat.\n\n-[ Speaking French ] -As the hours go by\, there are various events.\n\nPadiamenope is actively involved\, hauling the sun god's boat\, harpooning Apophis\, the serpent that tries to stop the boat from progres sing.\n\nHe's very actively involved in the journey and even performs a ri tual dance for the sun god.\n\n-According to the text\, if during the nigh t Padiamenope is unable to bring the sun god's boat home safely\, the sun will not rise\, and the world will end.\n\nAnd so\, every morning\, when t he sun reappears\, all living beings bow down before the sun god to celebr ate his victory\, that of life over death.\n\n-[ Speaking French ] -Padiam enope's version is very original.\n\nInto the sacred text\, he inserts his own name and title.\n\nSo there's the presence of the man of letters but also the desire to promote himself.\n\n-According to a tradition dating ba ck to the Old Kingdom\, it's the pharaoh who is typically seen in the boat \, kneeling before Ra.\n\nSo why has Padiamenope taken the pharaoh's place ?\n\nPride?\n\nOr devotion?\n\nIsabelle Régen's work provides the answer. \n\nHe replaces the pharaoh as defender of Ra to ensure that\, after his d eath\, he will rise every day with the sun -- a way of guaranteeing eterna l life in the Land of the Dead.\n\nBut having the protection of the sun go d wasn't enough.\n\nHe also wanted to earn the favor of Osiris\, the god o f the dead.\n\n-[ Speaking French ] -We're in Room IX of the tomb\, which has two walls dedicated to the famous \"Weighing of the Heart.\"\n\n-Here\ , too\, Padiamenope plays a key role in one of the most important parts of the Egyptian Book of the Dead.\n\nAnubis\, who guides dead souls in the a fterlife\, puts a feather on one side of a scale and then places the decea sed's heart on the other.\n\nFor the deceased to continue on into the afte rlife\, their heart must be as light as the feather -- proof that they hav e committed no evil deeds.\n\nThoth\, the god of wisdom and writing\, note s the result of the weighing on his tablet.\n\nIf the scale does not balan ce\, indicating the soul is impure\, Ammit\, the devourer of the dead\, li es in wait to eat the heart.\n\nAnd when that happened\, the deceased coul d not continue living in the afterlife.\n\nThe whole scene takes place bef ore Osiris\, who oversees this divine tribunal.\n\nHe will decide whether the deceased is pure or if he dies forever.\n\nWhy does Padiamenope show s uch devotion to Osiris?\n\nWas he trying to win the god's favor?\n \n♪♪ ♪♪ Egyptologists have a theory about why Padiamenope's name a ppears on the walls of his tomb dozens of times.\n\nAncient Egyptians beli eved hieroglyphics possessed an important property.\n\nThey helped ensure eternal life.\n\nAs long as visitors to the tomb read his name\, Padiameno pe would be assured of his place in the afterlife.\n\n-For the ancient Egy ptians\, the word was incredibly powerful.\n\nWords are magical.\n\nIf you write something down\, it has power\, and once you say it\, it gives it e ven more power.\n\nIt ritualizes the whole thing\, and so it's the same wa y than in any magic\, even today\, no matter where you are.\n\nIf you give someone a name\, they have power over you.\n\nSo words have power\, and o ne of the creation myths of the ancient Egyptians was the god would think and then he would speak and it would come into being.\n\n-For Egyptians\, the act of preservation\, be it in writing a text or embalming a body\, wa s a critical practice to ensure their place in the afterlife.\n\n♪♪ -[ Speaking French ] -To dig and decorate a tomb of such a size must have ta ken a good 20 years\, if not more.\n\nAnd\, certainly\, in terrible condit ions.\n\nWe know there were several crews working on the tombs at the same time.\n\nWhen the excavators were working in the deepest sections\, scrib es and craftsmen had already begun decorating the first rooms\, which were finished.\n\n-Who were these builders and craftsmen who dug and decorated the tombs?\n\nThe knowledge and training that made Padiamenope's tomb so dazzling can be traced back eight centuries to a unique archaeological sit e not far from TT33.\n\n♪♪ It's a village where the men who worked on royal tombs lived and learned how to create the intricate\, inscribed text s.\n\n-Here we are at Deir el-Medina\, which is one of the most important places in Egypt.\n\nIt's the workmen's village\, and these are the people who decorated the tombs of the kings and the Valley of the Queens\, and he re\, this is in the west bank of Thebes\, where the Valley of the Queens\, which they also decorated\, is there.\n\nThe Valley of the Kings is just over there\, and also the nobles' tombs and the temples are very close by. \n\nYou can see different degrees of specialization\, and that's\, of cour se\, because people were always learning the craft.\n\nSo the fathers woul d be teaching their children but probably also the priest would help in te rms of the reading and the writing\, but you can see with the ostracon whe re people are clumsily writing out their hieroglyphs like their baby ABCs\ , and then they get very confident.\n\n-The village was built at the time of Thutmose I\, more than 3\,500 years ago.\n\nThe workmen would leave the village at the beginning of each week to dig\, construct\, and decorate t he tombs of the pharaohs.\n\nAt the end of the New Kingdom\, the site was abandoned and became buried in the sand\, and the objects left behind by t he inhabitants were discovered on digs in the early 20th century.\n\n♪ ♪ -As part of a mission led by the Institute\, Cédric Larcher oversees and coordinates researchers from around the world who gather at the site f or two months every year.\n\nTheir aim is to study the remains found in th e village to better understand the work of these unsung craftsmen.\n\n-[ S peaking French ] -This is our place of work\, our laboratory where the mis sion's researchers work on objects found directly on the ground.\n\nGersan de is analyzing the different types of wood found on the site.\n\nZachary and Ahmed are scanning our database to find out what this object was used for\, what's written on it\, and to establish the context of where it was found on the site.\n\n♪♪ This is an ostracon.\n\nThese ostraca have be en found in large quantities at Deir el-Medina.\n\nThey're fragments of li mestone or potsherds\, which were used as writing tablets by the inhabitan ts there.\n\nThe ostraca give us a lot of information about everyday local life\, as they mention events or consist of lists of workers and their fa milies.\n\nBut some of them were used to practice writing\, which shows th at people undertook apprenticeships in writing here at Deir el-Medina.\n\n They copied out classic texts again and again until not only did they know them by heart\, but they could also write all the signs.\n\nWe imagine th at the apprentice had models and he had to keep carving the same sign unti l he could reproduce the volume expected by the teacher.\n\n-For the lette rs to each other\, you would use hieratic\, which is basically hieroglyphs but a more relaxed form\, so it is the same way that hieroglyphs are like capital letters\, very formal\, and hieratic is joined-up cursive writing .\n\n-99% of ancient Egypt's population was illiterate\, but that was not the case for the community of craftsmen living at Deir el-Medina.\n\nAnd t he men were organized so that the work was spread evenly across the tombs. \n\n-[ Speaking French ] -Among the important ostraca found on the site is one now kept at the British Museum\, which contains information about the organization of work at the royal tombs.\n\nHere\, written in hieratic\, are the names of the workers\, with a list of the days they were present o r absent.\n\nScribes kept daily registers.\n\nThey'd take a roll call to s ee who was there and who wasn't.\n\nWe have some of the excuses presented by the absent -- \"So-and-so absent for a family funeral\" and so on.\n\nA nd along with the lists of workers are the names of the chief builders who oversaw their work at the tombs.\n\n-The workflow in the tomb included a variety of tasks\, following a meticulously planned schedule.\n\nFirst\, t he excavators dug into a limestone vein in the mountain\, which had been c arefully located beforehand.\n\nIt was grueling work.\n\nThe men only had wooden mallets and bronze chisels to excavate the rock.\n\nSteel tools did n't exist in the ancient Egypt of 3\,500 years ago.\n\nOthers then removed the rubble from inside the tomb.\n\nNext came the polishers\, who smoothe d the floors and walls.\n\nDraftsmen would then trace grids on the walls.\ n\nThese served as the framework for the outline scribes\, who used red in k to sketch figurative scenes and texts\, which would be inscribed later.\ n\n♪♪ Next came the engravers\, who carved the stone with wooden malle ts and fine copper chisels\, following the previously sketched guide.\n\nA nd the final step -- painters colored the carved scenes and hieroglyphs.\n \n♪♪ -[ Speaking French ] -We've found a large number of paintbrushes of varying shapes and sizes\, depending on their use.\n\nSome brushes were used for applying stucco or painting the first layer on the walls to be d ecorated.\n\nFiner brushes were used to paint the figures or hieroglyphs.\ n\n-Elizabeth Bettles wants to find the name of each artist whose work app ears in another tomb in the Theban necropolis.\n\nWith tireless determinat ion\, this British paleography expert works to identify the painter of a t omb from the 20th dynasty.\n\n♪♪ -Everybody's handwriting is different .\n\nEverybody's handwriting is unique.\n\nToday as it is known that that is the case\, and it would have been exactly the same over 3\,000 years ag o\, as this was.\n\nAll of this learning about the man who created these h ieroglyphs\, who painted them\, I've got to get to know him.\n\nSo I've go t to try and find his handwriting style through the shape\, through -- of the sign\, through how he created the sign\, how he spelled things.\n\nAnd at the moment\, I am concentrating on doing individual hieroglyphs to fin d out what their shape is.\n\nMy long-term goal is to create a kind of an interactive database to be able to show people who we can name\, who we kn ow who they married\, what their children's names were.\n\nSo we can learn so much about the people who were literate\, who could write.\n\n-You can recognize now the hands of the painters because they each has a special t echnique\, which is marvelous\, because\, again\, you start to connect the finished work of art with the individual.\n\n♪♪ -Although the last ar tists left Deir el-Medina 800 years before Padiamenope's tomb was built\, their skills and traditions began there\, to be handed down from generatio n to generation.\n\n♪♪ The mission goes on.\n\nThe Egyptologists have decided to reconstruct\, like a vast jigsaw puzzle\, the magnificent decor ation of the tomb's walls\, which time has broken into thousands of pieces .\n\n♪♪ For help\, they have called on archaeologist Simone Nannucci.\ n\nThis morning\, while digging in the tomb's first rooms\, he discovered more information about Padiamenope.\n\n♪♪ -[ Speaking native language ] -While digging\, we found thousands of fragments from the walls\, pillar s\, and ceiling.\n\nThe aim of our research is to place them in their orig inal position.\n\n-This part probably came from this\, the southern wall o f the room\, where we can see Padiamenope's mummy before his tomb\, and he re\, part of his title\, \"Rehrireb\" or \"Rehritep\" -- lector-priest.\n\ n-Look at the detail in the ears and nostrils!\n\n-The stele.\n\n-I hadn't noticed that.\n\nSo it's a representation of the tomb we're in right now! \n\n-Right.\n\nIn its ideal state.\n\n-Padiamenope must be very happy in t he afterlife!\n\nWe never stop mentioning his name!\n\nThis is so moving.\ n\n-The carved walls of temples and tombs aren't the only sources availabl e to archeologists documenting the history of this civilization.\n\n5\,000 years ago\, ancient Egyptians also created a material akin to paper from the stalk of a plant that grows along the banks of the Nile -- papyrus.\n\ nIn the 19th century\, ancient Egyptian papyri became collectors' items.\n \nBernardino Drovetti\, France's consul in Cairo at the time\, made a busi ness of selling texts that were several millennia old.\n\nThe king of Pied mont paid him a fortune to put together a collection.\n\nThe king was able to open the Museo Egizio in 1824 that included statues\, objects\, and pa pyri.\n\nWhat did the man who made it possible think about the new museum in Italy?\n\n-When the Drovetti collection was acquired\, they hope to bri ng the man who had found the key to ancient Egypt to Turin.\n\nSo Champoll ion accepts their invitation.\n\nHe is not at all happy about the fact tha t France has not acquired the collection\, but Turin has.\n\nAnd so he's c redited with that famous saying that\, \"The road to Memphis and Thebes go es through Turin.\"\n\n-But once he arrived in Turin\, Champollion had a c hange of heart.\n\nHe spent the next eight months at the museum studying p apyri that he described as being \"beyond words.\"\n\nHe made extraordinar y discoveries while restoring the papyri fragments brought back from Egypt by Drovetti.\n\nToday\, the scientists at the Museo Egizio are busy resto ring and piecing together papyri\, continuing Champollion's work.\n\nWhile at the museum\, he used its collection to create a foundational work in E gyptology -- the Turin King List\, as it's sometimes called -- which helpe d establish the chronology of Pharaonic dynasties.\n\n-Chronology is one o f the primary concerns of Champollion when he arrives in Turin.\n\nChampol lion is confronted with a rich collection such as he has never seen before .\n\nAmong the fragmentary papyrus that Champollion was confronted with wa s one that was a list of royal names -- the Turin Canon or the Papyrus of Kings\, a list of kings starting from the time of the gods and all the way into historical times and until\, presumably\, the time of Ramses II\, un der whom this list was compiled.\n\nIt is one of the fundamental historica l documents of Egyptology.\n\n-Champollion threw himself into his work wit h the Turin papyri.\n\nBut he hoped to return to Egypt\, sail up the Nile deep into Nubia\, and continue studying hieroglyphics carved directly on m onuments.\n\n♪♪ ♪♪ It took him two years\, but he was able to orga nize an expedition of 14 scholars and scientists who would travel for 18 m onths\, analyzing the main sites of antiquity that were seen during the Bo naparte mission.\n\nIt was an immense task.\n\n♪♪ -[ Speaking French ] -Champollion is the father of Egyptology not just because he deciphered h ieroglyphs\, but also because of his contribution to every field that cons titutes the science -- his work on Egyptian religion\, his work on the Tur in Royal Canon and the lists of the pharaohs\, and so on.\n\n-Champollion' s chronology of pharaohs stopped at Rameses II\, from the 19th dynasty.\n\ nBut the empire lasted another 700 years.\n\nLater scholars would complete the timeline through the Roman period.\n\nClaude Traunecker used the Turi n King List to date TT33 to roughly the 7th century BCE.\n\nBut in order t o understand Padiamenope better\, he must now determine which pharaoh the scribe served.\n\n-[ Speaking French ] -How come a man of such importance never speaks of his king in his tomb?\n\nFrom time to time\, he says\, \"I was an important man.\n\nThe king of my day counted a lot on me\,\" but h e never names him.\n\n-Which pharaoh relied on Padiamenope so heavily?\n\n The tomb next to his\, that of Mentuemhat\, governor of Upper Egypt and ma yor of Thebes in the 7th century BCE\, provides Traunecker with the answer .\n\n-[ Speaking French ] -Genuine power was held for about 10 years by Me ntuemhat\, the man who built the great pylon\, which you can see behind me .\n\nHow does Padiamenope fit in here?\n\nI think they were just about con temporaries\, or there's perhaps 10 years between them\, because there are the same features found in Mentuemhat's tomb as that of Padiamenope.\n\nS o I believe that Padiamenope was the religious adviser to King Taharqa.\n\ n-Taharqa.\n\nThe Louvre contains several depictions of the most famous ki ng of the 25th dynasty -- black pharaohs from the Kingdom of Kush.\n\n ♪♪ -The Nubian dynasty was already impregnated with Egyptian culture w hen it was established because they came from Sudan\, Upper Nubia\, which had been colonized by Egypt and had gone through a long acculturation proc ess.\n\nSo the Nubian elite was well-adapted to the customs and religion o f the Egyptians.\n\nThey were more royalist than the king\, so to speak\, because they advocated a return to original purity.\n\n♪♪ Padiamenope participated in this antiquity revival movement\, which was very fashionab le at the time.\n\nHe illustrated inside his tomb\, with texts on the pyra mids and on sarcophagi\, which hadn't been in use for almost 2\,000 years\ , to show how erudite he was to visitors\, because part of his tomb was me ant to attract intellectual tourists.\n\nAnd Padiamenope was a secretary t o the king -- at a certain time\, at least.\n\n-As a secretary\, Padiameno pe would have led sacred ceremonies in the pharaoh's absence.\n\nThis stra nge ramp descending to the Nile is proof.\n\nIt was constructed during Tah arqa's reign\, under the supervision of Padiamenope.\n\nA text in Padiamen ope's tomb helped Traunecker make the connection.\n\n-[ Speaking French ] -\"I constructed a mooring space\,\" which means a quayside.\n\nThis tells us he was in charge of construction work in Karnak\, but as lector-priest \, he was also in charge of the ceremonies in Karnak.\n\nHe calls himself \"he who conducted celebrations and ceremonies in the Temple of Karnak.\"\ n\nSo he was a very\, very important figure in terms of local worship.\n\n -As part of what they called the Beautiful Festival of the Valley\, the pe ople of Thebes gathered together every year for a huge processional.\n\nAs a remembrance of the dead\, priests would launch a statue or portrait of Amun-Ra into the Nile on a ceremonial boat known as a barque.\n\nThe barqu e would then tour the necropolises at the site.\n\nPadiamenope chose to bu ild his own tomb in a place where the procession would stop each year.\n\n To get a sense of what the festival was like\, this wall at the Temple of Luxor commemorates a similar event.\n\n-Padiamenope was very key to this w hole connection and this control system that the Nubian pharaohs had.\n\nS o Taharqa depended on Padiamenope to\, in fact\, guide him\, almost\, thro ugh the idea of Egypt's religion and the texts.\n\n♪♪ -As Egyptologist s have noted\, many of the chapels inside the Karnak complex are dedicated to the god Osiris and date from the period of the Nubian pharaohs.\n\nIt is difficult to know whether Padiamenope had any influence on the revival of Osiris worship.\n\nBut for Salima Ikram\, it's undeniable that the arch itecture of the chapels was a source of inspiration for Padiamenope.\n\nLi fe in ancient Egypt revolved around ensuring a place in the afterlife.\n\n Perhaps Padiamenope hoped that dedicating his tomb to Osiris would help hi m after death.\n\nA closer look at the architecture of his tomb offers som e insight into his thinking.\n\nIt was structured as several distinct sect ions.\n\nThe first was undoubtedly open to all visitors.\n\nBut the second section was reserved solely for pilgrims worshiping Osiris.\n\n-[ Speakin g French ] -Imagine that we are not regular tomb tourists\, but pilgrims c ome to worship at the altar of Osiris.\n\nWe turn right.\n\nTo access here \, you need a special key.\n\nI even wonder whether there was an entrance fee.\n\n-It's possible Padiamenope built a tomb that would generate revenu e to help pay for its upkeep.\n\n-Once through this door\, we reach the ce notaph room.\n\nWhat's a cenotaph?\n\nA pretend tomb.\n\nIt looks like a t omb\, with all the decoration of the time\, but there's no body inside.\n\ nSo what did the pilgrims do once they were here?\n\nThey walked around\, singing canticles.\n\nI think they would sing the texts inscribed at the t ops of the walls.\n\n-The cenotaph served as a pilgrimage destination for worshipers of Osiris.\n\nAnd Traunecker is still studying the tomb's third section\, which he describes as being private.\n\nTo access the third sec tion\, one must descend the infamous shaft in Room XII that terrified visi tors and earned the tomb the legend of being cursed.\n\nFrom there\, it's down a passageway to Room XIX.\n\n-[ Speaking French ] -Here's the famous scene \"Awakening Osiris\,\" which must have covered the entire wall.\n\nT he central part features the god Osiris.\n\nBefore him is his son Horus\, who is holding the symbol of life under his father's nose.\n\nThe hierogly phs say\, \"Waking up.\"\n\n-A second shaft descends even further into a s trange room which resembles a sarcophagus from the Old Kingdom.\n\nTechnic ally\, it's the last room in the tomb.\n\nAny pillagers entering here coul d go no further.\n\nIt appears there was nowhere else to go.\n\nBut Padiam enope has created a secret burial chamber above the room.\n\nThe ceiling h ad to be smashed before Padiamenope's real burial chamber could be entered .\n\nAnd it is a revelation.\n\n♪♪ ♪♪ ♪♪ The decoration on the walls and ceiling of the chamber rival those of the Sistine Chapel.\n\nAn d Egyptologists have worked to restore them nearly to their original state .\n\n♪♪ -[ Speaking French ] -Padiamenope clearly wanted to conceal th e entrance to this last room\, where he was probably buried.\n\nBut as we found no remains of a sarcophagus\, the latest hypothesis to be put forwar d is that his mummy was inside a wooden coffin placed on a funerary bed\, possibly in the central part of the room.\n\nThis hypothesis is based on t he fact that on the east and west walls of this chamber\, between the nich es which must have held statuettes... ...there are images of guardian geni es\, deities\, who were supposed to protect Padiamenope's body.\n\nThe sam e guardian genies that featured to the left and right of \"Awakening Osiri s.\"\n\nSo the hypothesis is that Padiamenope wanted to reproduce a kind o f three-dimensional \"Awakening Osiris\" in which Padiamenope\, on his fun erary bed and surrounded by guardian genies\, takes the place of Osiris.\n \n-The portrait of the mysterious Padiamenope has become clearer.\n\nAssoc iating himself with the Judge of the Dead and receiving his blessing and g ood grace was undoubtedly the best guarantee of living eternally in the af terlife.\n\nExploration of his tomb has revealed an extraordinary figure - - a priest\, a scribe\, and a scholar who played a crucial role at the pha raoh's court.\n\nDespite the 2\,500 years that separate them\, Padiamenope and Champollion shared the same fascination with hieroglyphics.\n\nIn hin dsight\, one seems to have placed himself in the footsteps of the other.\n \n-[ Speaking French ] -Both of them wanted to pass on something they poss essed.\n\nPadiamenope wanted to pass on his knowledge of history\, a much older history of his civilization.\n\nAnd Champollion wanted to discover a nd then pass on to his contemporaries all of those wonderful things he had discovered.\n\n-Shortly after returning from his voyage to Egypt\, Champo llion fell ill.\n\nHe died in Paris on March 4\, 1832\, at age 41.\n\nDesp ite his early passing\, he left behind a vast body of work.\n\n-[ Speaking French ] -By cracking the code of hieroglyphs\, Champollion opened the gr eat door to what would become Egyptology\, which is still developing today and destined to know even greater developments.\n\n-Today's Egyptologists continue the work Champollion started with his discoveries.\n\nThe priori ty on their next trip will be to conserve the tomb and restore its treasur e in order to reveal more of Padiamenope's secrets\, deepening our underst anding of this ancient civilization and its hieroglyphics.\n\n\n\n\n  \n\ n DTSTART;VALUE=DATE:20250208 RRULE:FREQ=YEARLY;INTERVAL=1 END:VEVENT END:VCALENDAR