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On my return from Switzerland was fine. I landed at Heathrow with "just" an hour and a half late. This time, however, was the fault of the Aero Baboo from Geneva. I retrieved my luggage in one quarter of an hour and I managed to take the train to Rome at the 20:27 21:11: was forty minutes late. Trifles ...

I resume the thread by telling you my latest discovery. Here it is. Last week I was in Turin. I visited the museum for a while 'and I took advantage for a fast lap. He accompanied me Sara Caramello because the director Eleni Vassilika was ill. I was especially curious to see the progress temporary funeral of Kha and Meryta. It is located in the room that once housed the introduction to the exhibition and a section devoted to the first period of Egyptian history. I must confess that, on entering, I was dumbfounded by the fact of being in front of the two dark masses and obligations of the outer coffin of Kha (left) and Meryta (right). Walking around the room but I liked this choice has the advantage of not showing now everything is exposed, thus giving the visitor an idea of \u200b\u200ba more articulate, and only gradually reveal what was inside two sarcophagi. Is then repeated the sequence that normally occurs in an archaeological discovery. The anthropoid sarcophagi and artifacts of interest are collected in a central case very simple. The rest of the outfit is exposed in the wall boards that were part of previous construction. The result is more than commendable. The kit was too Meryta Kha and sacrificed in the room on the first floor and really deserved more prominence. Those who had not recently been in Turin, can get an idea in the video available in English introductory page of the Egyptian Museum. For some reason there is in the Italian one.

Eleni Vassilika

volume dedicated to the support of the Tomb of Kha

then I asked Sara to show me the pot of which much has been spoken in recent months. This is a small pitcher that resembles a bilbil Cyprus. Had been found in two pieces among other objects scattered on the floor of the burial chamber of Kha and Meryta. According to Ernesto Schiaparelli, who discovered the tomb, the rupture was considered ritual. The jug has been restored at the new construction. This decision was harshly criticized (no names now because I feel good) and interpreted as a sign of incompetence on the part of the scientific staff of the Egyptian Museum. This has led to controversy. From here my curiosity.

I looked at the pot, breaking and restoration. Rule out the ritual (Schiaparelli is far from infallible). First, the ceremony has a very specific name: Sedj desherut, ie "break the red pots". The pitcher does not have this color. Besides carrying out the ritual had immediately prior to movement of the funeral and the coffin in the tomb. Because in this case it was decided to do so within the burial chamber? With these assumptions, the rupture of the vessel shall be interpreted as an accident likely happened at the time of deposition of the kit. The decision to restore the vessel is therefore legitimate. The reconstruction of the findings is almost invisible and the caption that accompanies it declares that the restoration is fully reversible. Because of the above, the dust raised around the vessel is dictated more by a simple bias which a real archaeological analysis of the facts.

final thought. Unknown because the polemicist has not gone to at least read the Lexicon der Ägyptologie (J. van Dijk, Zerbrechen der roten Töpfe ', in: Lexikon der Ägyptologie VI, Wiesbaden 1986, cc. 1389-96)? Out of date, but clear and comprehensive.