Tag Archives: Sepulchral monuments

Ballyedmonduff Wedge Tomb Within the Lore of Giants

Like two months before Christmas, 2018, a group of three archaeology students started to conduct a thorough archaeological survey of Ballyedmonduff wedge tomb in Co. Dublin, in order to gain a better understanding of the site. I was one of them. Although we were not allowed to do proper archaeological digs, we documented instead the archaeological remains in detail, including research of the folklore surrounding the so-called ‘Giant’s Graves’ as the wedge tomb of Ballyedmonduff is usually called (McGuire et al. 2019:3). Before the date of submitting the project, in February, 2019, we visited the site a number of times. “The tomb itself is marked on the Park’s map, as the ‘Giant’s Grave’ [and] is situated on land owned by Glencullen Adventure Park (GAP), a privately-run facility mainly engaged in the provision of mountain biking trails. Some of these trails run close to the tomb” (Ibid.:4), which frequently made our work in the field more difficult, when groups of people, like children of a school trip started climbing up the tomb stones and jumping between our tools and measuring tapes. The weather was not on our side either. Although it was not often raining (or snowing), it was really freezing, especially in the shadow of the forest, and adding that we were spending long hours of working in the filed, mostly staying in the same position, while taking precise measurements, making a drawing or reading levels calculations. So a nearby coffee shop often saved our lives. On the other side, I remember this project as one of the most interesting assignments at the university and the reason why I have actually chosen archaeology as my profession. Comparing it to the work I do for living, sitting for hours in a noisy office and listening to complaining clients, wading through the mud and patiently observing stones definitely win. And when no one appeared on the trail at that time, there was such an eerie silence, soaring in the darkness of the surrounding trees, that it seemed it would disturb the sleep of the buried giant who would finally wake up to leave his lair of stones.

Wedge tombs are the most numerous and distinctive type of megalithic passage tombs. They are found all over Ireland but mainly in the west and the south-west (Ruggles, 2005:435; O’Sullivan and Downey, 2010:36-39). Mystery surrounds these great stone monuments which stand remarkably in lonely places and fit into wild Irish landscapes (Evans, 1938:7).  Wedge tomb constructions mainly took place between 2500 – 1800 BC. (O’Sullivan and Downey, 2010:36-39), placing them chronologically towards the end of a rich tradition of Neolithic tomb construction in Ireland (Ruggles, 2005:435) and constructions petered out circa 1900-1600 BC. (O’Sullivan and Downey, 2010:36-39).  Over five hundred examples of wedge tombs are currently known in the Republic of Ireland (Ruggles, 2005:435), but many more have been destroyed over the intervening centuries (O’Sullivan and Downey, 2010:36-39).  A map of the distribution of wedge tombs in the Republic of Ireland is shown in Figure 10, based on GIS data with the latest information from the NMS (National Monuments Service Website).

The Ballyedmonduff tomb forms part of a small group of wedge tombs in the Dublin region (see Figure 11) which include Ilmashogue Wedge Tomb located half way up Three Rock Mountain near Kilmashogue Recreation Area car park – (SMR DU025- 00701); Killakee Wedge Tomb in Massey’s Estate Forest Park – (SMR DU025-022); Laughanstown Wedge Tomb in Cabinteely – (SMR DU026-024); and Shankill Wedge Tomb (SMR – DU026-059). 

Figure 11: The Ballyedmonduff as a part of a small group of tombs in the Dublin region, with Ilmashogue Wedge Tomb, Killakee Wedge Tomb, Laughanstown Wedge Tomb, and Shankill Wedge Tomb; based on GIS data for the use of the Survey of Ballyedmonduff Wedge Tomb (‘Giant’s Grave’), made by Maurice McGuire, Joanna Pyrgies, and Susan Ryan, February 2019. Copyright©Archaeotravel.

In terms of their chamber size, wedge tombs can be divided into two separate categories: single wedge-shaped, box like constructions, and long and low wedge-shaped galleries (O’Sullivan and Downey, 2010:36-39).  The former is typical of north-west Clare, while the latter occur particularly in the north, although examples happen elsewhere (Ibid.:36-39). Ballyedmonduff appears to be large, complex and well-built in the context of the class as a whole and as a gallery grave belongs to the second category of wedge tombs. Whilst wedge tombs vary widely in size (Ruggles, 2005:435), they have defining characteristics – a trapezoidal central chamber, with its sides formed by two lines of large, upright stones (orthostates), getting wider and higher toward the entrance end, from east to west, and forming a wedge shape (Ó’Ríordáin and de Valéra, 1952:61-81), hence their name.  An antechamber is separated from the main chamber (the burial area) by a jamb or sill.  Such tombs were often covered with cairns, which could be round, oval or heel-shaped, often with kerb stones around to support the whole construction (Ibid.:61-81).  

The other characteristic that confirms the wedge tomb as a significant category of monument, is the strong consistency in their orientation, with their doorway generally facing west (Ruggles, 2005:435; An Salisbury et al. 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81). Nearly all known examples face the western arc of the horizon, with a large group facing south-west (Ruggles, 2005:435; An Salisbury et al. 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81). It is unusual to have such a clear preference for westerly orientation among a group of Neolithic tombs (Ruggles, 2005:435; An Salisbury et al. 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81). Their pattern of alignment fits the sun descending or setting model (Ruggles, 2005:435; An Salisbury et al. 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81). In other words, Ruggles (2005:435) notes that each wedge tomb was oriented upon a position where the sun was seen either to set, or to be descending in the sky on a significant day – perhaps the day on which construction was begun.

Levels exercise on the site of Ballyedmonduff Wedge Tomb, located in Glencullen Adventure Park (GAP), Ballyedmonduff, Ireland. Copyright©Archaeotravel.

Wedge tomb concentrations appear to be denser around mountains than in the lowlands (Salisbury and Keeler, 2007:226-227, 231-232). Throughout Ireland, wedge tombs can be found at elevations.  They are on the summits or slopes of drumlins, hills or foothills, with a smaller number on the sides of higher mountains (including Ballyedmonduff). Unlike in the case of portal or court tombs, it seems that builders preferred hilly locations, though not to the exclusion of other landscape settings – one exception is that no wedge tombs are found on mountain peaks (Salisbury and Keeler, 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81). They do not often appear to have been in close proximity to the coastline, as in the case of Altar Wedge Tomb in Co. Cork.  Still they show a pattern of concentration closer to rivers or lakes (Salisbury and Keeler, 2007:226-227, 231-232; Ó’Ríordáin, De Valera 1952:61-81).  Salisbury and Keeler (2007:226-227, 231-232) note that it seems likely that water represented no more than an exploitable resource to the wedge tomb builders, with no ritual or cosmological significance. The suitability of an area for settlement and farming, together with the availability copper (e.g. in Cork-Kerry area), influenced the locations of wedge tombs (O’Sullivan and Downey, 2010:36-39).

The lore of the giant’s tombs

Prehistory in Ireland begins around 8000 – 7000 BC (Powell, 2012:11-16).  The most prominent remains of this early prehistoric period are the megalithic tombs in general, the majority of which were constructed in 4000 – 2000 BC. (Ibid.:11-16).  Depending on their particular shape and category, some of them have been referred to as Giant’s Tombs or Graves, others were called Druid’s Altars, mainly to describe portal tombs (dolmens) (Ibid.:11-16).  During the first part of the 19th century, before the completion of archaeological research on Irish megaliths, such tombs were widely noted in literature (Ibid.:11-16). A great number of these legendary sites reappear on the OS maps in 1902, 1904-05, 1907 and 1913-14 under names such as Cromlechs, Druid’s Altars, Giant’s Beds, Giant’s Griddles, Giant’s Graves or Dermot and Grania’s Bed (Cody, 2002). According to Survey of Megalithic Tombs of Ireland, Vol. 1-6, some of the tombs had been destroyed, others were not accepted after inspection as proven megalithic tombs, and the reasons for their rejections are noted in each case (De Valéra and Ó Nuallain, 1961-1989; De Valera, Ó Nuallain 1982).

Many megalithic structures are so huge that numerous legends say they were built by a race of giants for different purposes (Powell 2012:11-16). Some of them were believed to have held dead giants, which would account for their enormous size, and hence the name Giant’s Tomb seemed appropriate (Ibid.:11-16), although not all megalithic tombs have been known under that name. According to OS maps from the first part of the 20th century, and our GIS survey, the greatest number of Giant’s Graves is present in County Sligo (73), which looks like a huge megalithic cemetery. In Ireland, the term Giant’s Grave usually refers to wedge tombs (46), court tombs (54), portal tombs (9) and unclassified tombs (21). The same records indicate there is no passage tombs known as Giant Graves (see Figure 12) (Powell 2012:11-16; De Valéra and Ó Nuallain, 1961-1989).

The term Giant’s Grave is probably the most widely used as far afield as Ireland, Sardinia and Denmark (Evans 1938:7). It can be readily understood how giants were invoked to explain these monstrous architectural achievements (Ibid.:7).  Legends of giants, who undertake extraordinary feats are very common in Irish mythology (Powell 2012:11-16). These legendary tales were usually used by the 18th century Victorian Antiquarians and earlier writers (Ibid.:11-16).  Already in ancient times, these so-called romantic concepts abounded about the origins and the builders of great megalithic structures, not only in Ireland but worldwide (Powell 2012:11-16). The term Giant’s tomb was already recorded at the beginning of 2nd century AD. by Plutarch, a Greek biographer and essayist (Plutarch, 2nd century AD.).  Plutarch describes that when the Roman general Sertorius (123-72 BC) took over the city of Tingis (Tangier, Morocco), he broke open the tomb of Antaeus, the giant venerated by Phoenicians (Ibid.). To his surprise, he found a body sixty cubits long (about 27 metres) (Quayle and Albertino, 2017), “and after performing a sacrifice filled up the tomb again, and joined in magnifying its traditions and honours” (Plutarch, op. cit.) (see On the Southern Side of the Strait of Gibraltar).   

Ballyedmonduff Wedge Tomb (‘Giant’s Grave’). Photo by Maurice McGuire. Copyright©Archaeotravel.

Most of the megalithic monuments, from the Greek, megas, ‘great’, and lithos ‘stone’, are today assigned to major classes and each are named after an important distinguishing feature (Powell 2012:11-16). Among them, there are the so-called tombs, temples, fortifications, citadels, towers, alignments, and hedges (Quayle, Alberino). Megalithic architecture was also described by the ancient Greeks as cyclopean after the race of giants with only one eye, who were believed to have been great craftsmen and builders (Ibid.). For the ancient, Cyclops were the offspring of gods, and they attributed them with megalithic structures throughout the Mediterranean, such as the walls of Mycenae (Ibid.). The term cyclopean masonry is nowadays used by archaeologists to describe an engineering technique that incorporates large stones without the use of mortar (Ibid.). The style ranges roughhewn stone structures as displayed, for example, in nuraghe towers all over Sardinia, or in structures of north-western and south Europe, Africa, Near East, and southern Asia, to incomprehensibly precise edifices devised with immense polygons of blocks (Italy, Greece, Malta, Egypt, Lebanon, Sri Lanka, Peru etc.) (Ibid.). The knowledge of cyclopean masonry vanished but all over the world, anywhere megaliths are present, legends of giants abound (Ibid.).

In relation to megalithic sepulchre architecture there are four major categories, such as passage tombs, court tombs, portal tombs and wedge tombs, with other minor categories (Powell 2012:11-16). The so-called giant’s tombs or graves are scattered all over Ireland: the Giant Leap (wedge tomb) in Co. Cavan’s Burren Forest Park, Giant’s Grave on the Laois and Offaly border in Killinaparson, Moytirra East Court Tomb in Co. Sligo, and Giant’s Load (dolmen) at Proleek, Co. Louth, to name just a few.  Some of them tell a story of giants buried there, others, such as the megalithic tomb in Killinaparson are believed to be the resting place of ancient warriors or heroes (Slieve Bloom Association, 2019).  In Proleek, the dolmen is said to have been erected by the Scottish giant named Parrah Boug McShagean, whose body was buried nearby (Dempsey, 2008).  Co. Cavan’s Burren Forest Park, also has a giant story associated with its name (Goldbaum 2010-2019).  According to Harold Johnson (1998), from the nearby town of Blacklion, the giant, attempting to impress a lady, failed in his final attempt to jump the nearby chasm, which is, of course, called the Giant’s Leap (Goldbaum 2010-2019).  After the giant’s fell down and broke his back, he was buried in what’s called now the Giant’s Grave (Ibid.) There are two giant’s tombs near Dublin, one of which is a portal tomb located in Brennanstown, the other is the subject matter of the project and is known as Ballyedmonduff Wedge Tomb.  Although the latter is also referred to as a Giant’s Grave, there is no known local folklore of a giant or giants linked to this site.

The Giant’s Grave of Ballyedmonduff is located on the lower south-eastern slopes of the Two Rock Mountain, close to the stream (Ó’Ríordáin and De Valéra, 1952:61-68). Nowadays there is a dense pine forest, but in the past, there may have been splendid views of Dublin Bay and Wicklow mountains from the site (Ibid.: 61-68). The grave’s structure consists of a gallery aligned approximately west-east (Ibid.:61-68).  Today partially destroyed and disarranged, the gallery is divided by two septal stones into three parts of different size: ante-chamber, separated burial chamber, and a smaller niche or chamber closed with the back stone (Ibid.:61-68).  The eastern side of the tomb (which was once covered by a cairn) is delimited by horse-shoe shaped kerbs with a row of orthostats forming a straight façade at the western end, onto which the entrance to the tomb opened (Ibid.:61-68). During excavations in 1940s there were some finds recorded at the site: about 150 pieces of pottery, twenty-seven pieces of flint, a perforated polished hammer, and a few fragments of cremated bone of human origin (Ibid.61-68).  

Wedge tombs are said to have primarily served as collective burials for social groups (Evans, 1938:7) and territorial markers (Salisbury and Keeler, 2007:226, 231-232).  Yet, some giant’s graves yield no osseous remains (Frazer, 1895:64). Some scholars even suggest such constructions as wedge tombs did not originally serve as sepulchre at all but they were re-used as tombs by later generations or cultures (Brennan, 1994).  According to Walsh (1995) wedge tombs were not simply burial structures or territorial markers.  They seem to have served a variety of functions ranging from the practical to the symbolic (Walsh 1995).  Studies in archaeoastronomy carried out by scientists such as Lomsdalen (2014) and Brennan (1994) show that megalithic architecture holds a strong relationship to the sky. Accordingly, some theorists, for example Kaulins (2003), claim Ballyedmonduff used to be a geodetic astronomical planisphere (i.e. a star chart formed by the position of the stones), and the largest megalith on the site marks the constellation of Andromeda, while other stones are related to other major stellar constellations of the sky.  He believes that all of the stones were intentionally placed there to serve a particular purpose and were not placed there by chance (Ibid.).  Each was selected for their particular position out of the many stones available (Ibid.).  Kaulins (1995) also notes that megaliths made of quartz, granite or particular colour deserve special attention. 

As there is no straight answer on the purpose of giant’s graves in Ireland, it is valuable to look closer at other megaliths bearing the same name outside Ireland and compare them, especially the tombs built in Sardinia – an island famous for its legendary gigantic inhabitants.  All over this island, there are massive stone sepulchres commonly called the tombs of giants.  Similarly, in Ireland, most of the megalithic stones once incorporated into ancient monuments were partially dismantled long ago by residents of local villages, however, they are still impressive (Quayle and Alberino, 2017).  Sardinian licenced archaeological guide Maria Paola Loi, confirms there are legends in Sardinia saying that the tombs themselves were not designed to house the bodies of giants (Loi, 2017). The giant’s body was inhumated first underneath and the monument was built on top once the body was buried (Ibid.).

Loi (2017) explains that an aperture inside the tombs was used by young men during the so-called rite of passage ceremony to stay in contact with the soul of ancestors, known as heroes or giants. Boys would crawl into the narrow opening of the entrance stele and sit down in the tomb gallery on particular celestial events, when it was believed that the giants’ powers were released (Ibid.). She notes that each boy would individually spend a few days and nights there, meditating alone and absorbing the energy of the mighty one buried beneath (Ibid.).  Likewise, O’Sullivan and Downey (2010:36-39) explain that in Ireland “megalithic tombs were symbolic expressions of ideological beliefs, ritual authority and access to the supernatural”.  They also note that the wedge tomb was at the centre of a community of individuals who shared the same beliefs and values (Ibid.:36-39). The ancestors may have been regarded as spirits whose function was to communicate with higher spirits to further the prosperity of the whole community (Loi, 2017).

Francesco Cubeddu (2011). Aerial view of the Giant’s grave of Sa Domu ‘e S’Orcu in Sardinia. CC BY-SA 4.0. In “Giants’ grave”. In Wikipedia. The Free Encyclopedia.

There are two kinds of giant’s tombs in Sardinia (Loi, 2017).  The major group consists of the so-called horned cairns, namely long wedged-shaped galleries of upright stones, divided or segmented by stone pillars, sometimes with low transverse slabs between them, dividing them into oblong compartments (Evans, 1938:10-12). Unlike Ballyedmonduff Wedge Tomb, they do not feature a distinct chamber at the end, as the gallery is thought to have been an actual burial place (Ibid.10-12).  If preserved, the gallery is roofed by corbels and covered with cap stones (Ibid.:10-12), some weighing up to 20 tons (Quayle and Alberino, 2017).  Although cap stones were once present at Ballyedmonduff, as shown in the Ordnance Survey sketches, they are missing now at the site.  A very significant feature of the tombs in Sardinia is the entrance (Evans, 1938:10-12; Quayle and Alberino, 2017).  Namely, it is emphasized and set off by a curving line of orthostates, forming an imposing semi-circular façade embracing a forecourt (Evans, 1938:10-12; Quayle and Alberino, 2017). 

The term horned cairns come from the resemblance which the layout of the forecourt bears to the horns of a bull (Evans, 1938:10-12).  This type of forecourt does not occur in the typical form of Irish wedge tombs. Although monuments with this type of forecourt are found especially in the south-west of Scotland and the south of France, and seem to derive from Sardinia, Northern Ireland is the region of their richest development, and they are mostly clustered around Carlingford Lough in Ulster, such as Browndod tomb in Co. Antrim (Ibid.:10-12).

Remains of a statue representing an opulent woman or a goddess found in the area of the temple Ggantija. Is it a representation of the Giantess Sansuna? Copyright©Archaeotravel.

Although passage tombs in Ireland are not remembered as giants’ tombs, an Irish legend has it that the passage tombs of Loughcrew were created when a giant witch, walking across the land, dropped her cargo of huge stones from her apron (Ireland’s Ancient East 2018; see Sliabh na Callighe (Mountains of the Witch). Actually, very similar story is known on Gozo Island in Malta, where the giantess Sansuna is said to have built the temple Ggantija – the Place of Giants, carrying huge stones upon one of her shoulders or in an apron four kilometres to their current resting place (Newman 2016). On her way, likewise the Loughcrew witch, she dropped some of the stones (Ibid.). One of them is called Sansuna’s Dolmen and it is located exactly one kilometre south-east of the Ggantija temple (Ibid.) (see Sleeping Beauty of the Underworld).

Situated in the Golden Heights, south of Damascus, there is another giant’s tomb, however, of an outstanding shape (Hamilton-Brown 1990s; “Rujm el-Hiri” 2022). It is called Rujm el-Hiri or Gilgal Refaim (from Hebrew, Giant’s Circle of Stones) and it is an ancient megalithic construction consisting of an estimated four thousand tons of loose rocks of huge and various sizes, which makes it another cyclopean construction (Hamilton-Brown 1990s; “Rujm el-Hiri” 2022). The stones form concentric circles, with a tumulus at its centre (Hamilton-Brown 1990s; “Rujm el-Hiri” 2022). It is dated to around 3000–2700 BCE BC. (“Rujm el-Hiri” 2022). Like the other giant’s tombs, Rujm el-Hiri is also strongly associated with the race of giants, yet in this case it is not only a folk story but the biblical narrative that supports that (Hamilton-Brown 1990s). An Israeli archaeologist, Daniel Herman, claims that the tomb must have been dedicated to someone really powerful as its construction should have taken an enormous amount of time and effort (Ibid.). When Israelites came to this area, the tomb had already been there and they documented the identification of the site by saying that this region had been ruled by Og, the king of the Basham (Ibid.). The Bible mentions that king in Deuteronomy 3:11: “For only Og king of Bashan remained of the remnant of giants […]” (Ibid.)

Hebrew Wikipedia (2007). Gilgal Refā’īm is an ancient megalithic monument in the Golan Heights (Early Bronze Age II, 3000–2700 BC.). CC BY-SA 3.0. Photo modified. In “Rujm el-Hiri” (2022). Wikipedia. The Free Encyclopedia.

I do not know if the giant buried in Ballyedmonduff Wedge Tomb was one of those mentioned in the Bible. Maybe … However, the world’s ancient tradition of giants is extremely rich, especially in the British Isles and in Ireland. Similar folk stories, some extremely attractive, and especially the connection of the race of giants with megalithic constructions, are now taken with a pinch of salt, especially among archaeologists. Today, mostly tourists are likely to listen to such tales, who, usually indulged amid the sounds of Irish music, are sipping beer in pubs. Yet, the stories of giants and their beds resound with a deep note of melancholy, especially for those who are longing for the unknown past. Actually, despite further archaeological research to reveal the truth about prehistoric megalithic structures, such as the Ballyedmunduff Wedge Tomb, their secrets continue to persist and stimulate the human imagination.

Article based on research conducted on site of Ballyedmonduff Wedge Tomb by Maurice McGuire, Joanna Pyrgies, Susan Ryan (2017). Survey of Ballyedmonduff Wedge Tomb (‘Giant’s Grave’). University College Dublin.

Featured image: There are at least two giant’s tombs near Dublin, one of which is known as Ballyedmonduff Wedge Tomb. Although it is referred to as a Giant’s Grave, there is no known local folklore of a giant or giants linked to this site. Photo by Maurice McGuire. Copyright©Archaeotravel.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.


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Identity of the Man Found in the Sarcophagus of Palenque

Presumably, in order to preserve the precious archaeological find in its original state, Dr. Alberto Ruz Lhuillier had not unsealed the unearthed sarcophagus for six months since it was discovered (My Gen 2021). And it took archaeologists an additional week of work before they eventually lifted the five-ton beautifully carved lid of the sarcophagus, on 28th November, in 1952 (Ibid.).

Mayan Matryoshka-style

Eventually, it turned out that the inside of the rectangular stone slab of the tomb had been additionally closed off with another smaller slab, attached by means of stone plugs in the holes (Quetzal Resistance 2011; My Gen 2021). The additional and strangely shaped lid ultimately uncovered the final resting place of the dead, whose long and beautifully attired skeleton was lying inside a similarly-shaped coffin (My Gen 2021). As a result, the whole tomb design slightly resembles a set of Matryoshka dolls, where one of a smaller size is placed inside a larger one.

Howard Carter examining the innermost coffin of Tutankhamun. On the whole, there were three coffins, decreasing in size. Exclusive to The Times – The New York Times photo archive, via their online store (1922). Public domain. Photo source: “Tutankhamun” (2021). In: Wikipedia. The Free Encyclopedia.

The interesting shape of the smaller coffin lid, sometimes compared to a body-shape, drew Graham Hancock’s attention (2016:158); he connects it with a specific type of Egyptian coffins with a widen bottom (Ibid.:158). It is a characteristic that also appears in the shape of the coffin under the Temple of the Inscriptions (Ibid.:158). Yet, the Egyptian caskets were made of wood and had wide bases as they were often placed vertically, as if they were standing (Ibid.:158). By comparison, Pakal’s coffin was carved out entirely of solid stone and was arranged horizontally (Ibid.:158). The author therefore wonders why the builders of the sarcophagus took more trouble extending its lower part since it had no practical application (Ibid.:158). Or maybe it was the shape itself, which really mattered? (Ibid.:158); it actually resembles the aforementioned keyhole symbol, but which is turned upside down and with a circle part squashed, looking slightly like an eclipse. Moreover, the Matryoshka-style of Palenque sarcophagus had been also applied in Egyptian royal coffins, such as the set of Tutankhamun’s three coffins, characterized each by a decreasing size (Tyldesley 2016).

Descendant of the race of giants

All the archaeological reports accordingly claim that in the sarcophagus in Palenque, there was found a skeleton of a tall man (My Gen 2021; Hancock 2016:158). Nevertheless, the same scientific sources never give any precise information about the exact measures of the skeleton (My Gen 2021). In my opinion, it is not sufficient to argue that some person is tall or not as such descriptions are quite subjective as they may be based on a personal judgement.

Anthropological Museum of Mexico City. Funerary dress and jewellery of king Pakal of Palenque, seventh century AD. Photo by Wolfgang Sauber – Own work (2008). CC BY-SA 3.0. Photo and caption source: “Kʼinich Janaabʼ Pakal” (2021). In: Wikipedia. The Free Encyclopedia.

Accordingly, such a matter as the height of an individual should be given in detail. In spite of the information missing, some alternative researchers, however, keep trying to calculate an approximate skeleton’s height, basing on equally estimated measurements of the strangely shaped sarcophagus’ cut in stone, which was specially designed for the corpse (My Gen 2021). Such estimates can be only possible to obtain by means of the provided accurate measurements of the main, rectangular lid of the sarcophagus, which are the following: the square slab of the tomb is 30 centimetres (10 inches) thick, 90 centimetres (3 feet) wide and 3,7 metres (12,5 feet) long (Hancock 2016:159). As a result of a mathematical analysis, the skeleton would have belonged to a male measuring well over 2,2 metres in height (over 7,3 feet) (My Gen 2021).

Who was really buried in Pakal’s tomb?

Although the skeleton found inside the sarcophagus is usually recognized as the remains of the king Pakal, his identity has become repeatedly questioned (My Gen 2021; Von Däniken 1991:182).

First doubts arouse mainly due to the inconsistent date of 633 AD., which is the latest among those found on the sarcophagus and so it does not chronologically correspond to the conventional date of Pakal’s death (Von Däniken 1991:182). The doubts have deepened even more together with the results of interdisciplinary identification examination of the skeletal remains from the sarcophagus, which were presented at “a symposium organized by Vera Tiesler and Andrea Cucina for the Sixty-eighth Annual Meeting of the Society of American Archaeology in Milwaukee, Wisconsin, in April 2003” (Wordtrade.com 2021). During the project directed by a specialist in Maya civilization remains, Prof. Vera Tiesler, a wide range of laboratory analyses had been used with comparative data, including archaeological, bioanthropological and epigraphical studies of the Maya culture (Ibid.). Age assessment of the individual was mainly carried out by means of morphological observations and histological methods, including even mathematical approaches applied by paleo-demographers (Ibid.).

Temple of the Foliated Cross in Palenque features mysterious openings in the shape of keyhole. Copyright©Archaeotravel.

Yet, during the conference, there was no mention about results of radiocarbon dating of the bones or whether it had ever been conducted (My Gen 2021; see: Wordtrade.com 2021). It is only known that there was no DNA extraction, which Vera Tiesler explains by the fact of a very poor and fragmentary condition of the studied skeletal remains, which have been hardly preserved in seventy-five percent (Wordtrade.com 2021). As a result, even though the time of the individual’s death is relatively recent in comparison with other analysed skeletal remains from cultures existing before our era, the age determination and other analyses of Palenque skeletal remains may be erratic and inconsistent (Ibid.).

Inconsistent results

Particular results of one of the conducted examinations, however, seem quite reliable and they entirely put the identity of the individual found in the sarcophagus under question. Precisely, it was the analysis of wear on the skeleton’s teeth, which has placed the age of their owner at death as forty years old, which is simultaneously an average lifetime of the ancient Mayas (“Kʼinich Janaabʼ Pakal” 2021). Consequently, it means the skeleton must have belonged to a man forty years younger than Pakal at the moment of his death, when he was eighty years old (“Kʼinich Janaabʼ Pakal” 2021; Hancock 2016:158; My Gen 2021). Such a contradiction may have resulted either by a wrong interpretation of the dates ascribed to Pakal’s lifetime or the fact the skeletal remains do not belong to Pakal at all.

Despite such conflicting results, most scholars have no doubts about the identity of the skeletal remains in the sarcophagus in Palenque and so they reject any possibility it may not be the skeleton of the king Pakal (Wordtrade.com 2021). Probably, in order to achieve a compromise, they have accepted that at the moment of his death Pakal could be either in the low age range, estimated between forty and fifty years, or the highest estimated age of eighty years (Ibid.). But does it bring any final conclusion to the question of age of the skeletal remains and, indirectly, of dating the burial itself?

Temple of the Inscriptions, seen from the Palace side. It is built on the stepped pyramid with nine platforms. Copyright©Archaeotravel.

Such a wide range of an acceptable age for the found skeleton is justified by scholars due to particular challenges in its precise age determination (Wordtrade.com 2021). After Prof. Vera Tiesler the human remains under question cause particular difficulties in their studies, not only because they are extensively fragmented, but also because of the age range of the individual (Ibid.). Skeletal specialists agree that it is highly difficult to precisely estimate skeletal age in case of the dead adults, especially those who were over fifty years old at the moment of their death (Ibid.). This is why the results cannot be more precise or consistent unless some novel and conclusive methods are applied in this context.

Which way leads to the afterlife?

If the conducted examinations of the found skeleton generally fail in determining the identity of the buried individual, is it possible to find out missing answers in the imagery of his sarcophagus? The latter is undoubtedly one of the most fascinating Mayan monuments and is still the subject of a fierce debate even today, which is especially about an intriguing relief on the lid. Despite different interpretations of the scene, scholars generally believe that it depicts a mythological image or the king’s journey into the world of the dead. For the Mayans of the Classic period, the afterlife was located in the underground world filled with water and so it was associated in the earthly world with actual water reservoirs or caves (Eberl 2013:311; see 😊). Accordingly, the dead body of the ruler was to rest in the burial chamber in the centre of the Temple of the Inscriptions, symbolizing an artificial cave and the king’s descent into the earth, by means of the steps leading down to the underworld (Ibid.:311). The stone lid of Pakal’s sarcophagus was therefore intended to recreate his journey to the afterlife (Ibid.:311).

But if this interpretation is correct, and the Mayan underworld was located underground, why does a small pipe of psychoduct led Pakal’s soul from the tomb back to the temple outside it?

The Tree of Life

Cosmological Mythology of the ancient Maya was recorded in the Book of Chilam Balam of Chumayel, a Latin compilation of Mayan texts from the seventeenth and eighteenth centuries (Wagner 2013:288). The act of creation described there was preceded by the destruction of the world by the flood (Ibid.:288), also mentioned by numerous independent sources, such as the “Book of Genesis” in the Bible and the Sumerian epic of Gilgamesh (see😊

Tablet of the cross restored from the Temple of the Cross. Photo by Ineuw (2017). Public domain. Photo source: “Tablet of the Cross restored” (2017). In: Wikipedia Commons.

As the story goes, the very centre of the created world inhabited by the Maya was graphically marked by the Tree of Life, connecting the zenith with the nadir (Hohmann-Vogrin 2013:200). Not without a surprise, such a motif also appears in the Celtic and Scandinavian cultures (see😊. In the Mayan iconography, the central motif of the panel in the Temple of the Cross is a symbolic representation of such a tree that grows from the sacrificial bowl (Wagner 2013:288; see😊 The image must be strongly stylized because it resembles more a cross rather than a tree. After experts, branches covered with flowers grow on its both sides, whereas the two-headed serpent hanging on it symbolizes the eternally green tree and the colour of the centre of the cosmos (Ibid.:288). Additionally, on its highest branch, the god Itzamna sits on the throne, dressed as blue birds (Ibid.:288).

Here I must admit to myself that if I interpreted the relief of the Temple of the Cross myself, I would never have noticed some of the described details without a professional help of specialists.

Hidden birds game

On the sarcophagus from Planeque there are hieroglyphs and more or less abstract images. Starting from the top of the lid positioned in a vertical position, there is found a central motif that was recreated with slight changes on the later and the aforementioned relief from the sanctuary of the Temple of the Cross (Dr. Alberto Ruz Lhuillier in: Von Däniken 1991:187; see😊. In the first place, it is easy to notice a kind of a cross just in the middle, whose arms divide the surface, and metaphorically the world into four parts, and at the same time indicate the four cardinal points with its arms (see: Eberl 2013:314; Von Däniken 1991:186).

A drawing of the lid of the tomb of Maya ruler Pacal the Great. Drawing by Madman2001 – Made it myself based on several drawings References for this description (or part of this) or for the depiction in the file are not provided (2008). CC BY-SA 2.0. Image modified. Photo and caption source :“Temple of the Inscriptions” (2021). In: Wikipedia. The Free Encyclopedia.

According to experts having translated its imagery, a whole ornithological garden can be seen in the relief around the cross, including the Mayan bird Quetzal and the bird Moan, symbolising death (Von Däniken 1991:186-187; Wołek 2012:18). The latter was probably crouching just below the squatting anthropomorphic figure. Indeed, a strongly stylized outline of a pair of eyes and something that looks like a duck bake are visible there. Similar element also appears in the relief of the Temple of the Cross, but no one interprets it there as the bird Moan heralding death …

Furthermore, after a conventional interpretation of the relief from the Temple of the Cross, at the top of the Tree of Life sits the Mayan god Itzamna, depicted once again in the form of a bird (Wagner 2013:282). Its mirror image with small changes was also carved on earlier Pakal’s sarcophagus (see: Dr. Alberto Ruz Lhuillier in: Von Däniken 1991:187). For consistency of the both interpretations, it must be just the same bird in the both representations. But if Itzamna is sitting at the top of the cross, where is Quetzal? Apparently, it is crouching on the head of a man lying under the Tree of Life … (Von Däniken 1991:186). I need to admit that I cannot discern anything there except for elements looking like bird feathers, probably being a part of the lying man’s headgear … Dr. Ruz, in turn, sees Quetzal wearing the mask of Tlaloc and is one of miniature mythological creatures coming out from a two-headed dragon …  (Ibid.:187). Still nothing … I cannot see either the dragon or a creature wearing Tlaloc’s mask and jumping out of any head… Yet, according to translating the lid experts, a proper interpretations of the imagery is only possible when the lid is viewed from a horizontal position … (Von Däniken 1991:188; Wołek 2012:18)

Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

As a matter of fact, most scientists believe that the imagery on Pakal’s sarcophagus should only be interpreted in a horizontal arrangement (Von Däniken 1991:188; Wołek 2012:18). And here is another contradiction. The relief from the Temple of the Cross, which depicts the same main motif, can be only analysed in a vertical position, and the correct positioning of the relief is evidenced by two male figures standing on both sides of the Tree of Life, while it is depicted vertically.

Why is it so that the both images sharing exactly the same elements have been interpreted separately and so incoherently?

Academic and alternative interpretations of the image

Continuing the analysis of the sarcophagus lid from the vertical position, it can be noticed that under the Tree you can see the gaping mouth of the Earth Monster, which grins its teeth dangerously and threatens with its tusks (see: Von Däniken 1991:186-187). This element is missing in the later relief from the Temple of the Cross, likewise the main character of the scene on the sarcophagus. It is a male figure in a reclining position, situated just under the Tree of Life. Some experts claim it is Pakal who at the moment of his death falls into the mouth of the underworld, or of the Earth Monster armed with teeth, to be reborn like the god of corn (Von Däniken 1991:187; Eberl 2013:314).

The Tree of Life itself seems to grow out of the Earth-Monster between its tusks, and pierce the belly of the lying man with its roots. In addition, strange vines appear to grow from the man’s mouth and nose and on the back of his head. Maybe it is the Tree of Life that wants to consume the individual? Others argue that the “creepers” on the back of the king’s head are only part of an intricately pinned up hairstyle or headgear (Von Däniken 1991:187). As I mentioned earlier, some experts notice there the bird Quetzal, which would crouch on the king’s head (Ibid.:186).

‘Or maybe the ruler is inside a large skyrocket and goes into space?’, ask the proponents of the ancient astronaut theory, who support the thesis that ancient peoples around the world had contacts with representatives of a highly developed alien civilization, whom they consequently took for gods (Von Däniken 1991:188; Burns 2012).

And under the influence of such a hypothesis, the “creepers” or headdress ornaments, magically turn into double wires running inside the spacecraft (see: Von Däniken 1991:188; Burns 2012). Such a theory has been successfully instilled by a controversial researcher and author, Enrich von Däniken. By taking a closer look at the lid in an upright position, he has noticed that the figure depicted takes the position of today’s cosmonauts during the launch of a space rocket (Von Däniken 1991:188; Burns 2012). You can also see that the ‘cosmonaut’ is touching some devices with his hands, which look like levers (Von Däniken 1991:188; Burns 2012). His feet rest on some kind of pedals (Von Däniken 1991:188; Burns 2012). And beneath it, you can see what resembles flames and not the teeth of an Earth Monster (Von Däniken 1991:188; Burns 2012). Additionally, the king has something like a breathing apparatus in front of his face (Von Däniken 1991:188; Burns 2012). ‘This element is called’ giver of life ‘,explains Giorgio A. Tsoukalos, one of Däniken’s followers (Burns 2012). ‘So it seems logical that it could be oxygen. It is also logical that in space a man would need a similar breathing mask’, he says (Ibid.).

Following this interpretation of the sarcophagus lid, we may come to the conclusion that the picture presented in it proves the theory of the relationship between the Mayan rulers and aliens. So which interpretation is correct?

New definitions of old truths

Various representations of the bird Quetzal and the Mouth of the Underworld or the Earth Monster, are typical imagery features of the religion and mythology of the Mesoamerican peoples, and therefore also of their art (see😊. As we can see, a similar sarcophagus motif of the cross was also immortalized on a later relief from the Temple of the Cross. But was it meant as the Tree of Life for the Maya?

Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

All such interpretations are found within a framework of modern speculations and guessing, likewise contemporarily invented names given to ancient cultures, their architectural structures and artifacts (Von Däniken 1991:175-176; Hancock 2016:156). The Temple encompassing Pakal’s sarcophagus certainly was not called the Temple of the Inscriptions by the Maya themselves (Ibid.:175-176). In turn, the Earth Monster was imagined as an anthropomorphic-zoomorphic figure mainly by the Aztecs, who worshiped it under the female name Tlaltecuhtli (see😊 The Aztecs, however, were one of the most recent cultures of Mesoamerica, whose development was only interrupted by the Spanish Conquest in the sixteenth century.

By applying the same known matrix of mythological interpretations to all discovered artifacts from the world of ancient cultures in Mesoamerica does not really add anything in determining the real meaning behind them. It only causes that we are stubbornly going around in circles, putting another painting into the same frames. According to archaeologists and art historians, the Maya could create metaphorical representations of nature, which they provided with divine features, as many other ancient cultures around the world did. Then the Earth Monster jaws would be a universal and metaphorical image of the underworld or the gateway to the underworld, in which the Mayans certainly believed and worshiped (see😊. By the time of the Aztecs, such an image could gradually evolve to finally adopt the image of the half human goddess Tlaltecuhtli.

Exclusivity for the truth

On the other hand, the image on the sarcophagus may not originally have been purely symbolic, but with time it took on just such a character; perhaps a Mayan artist initially tried to recreate a scene he had seen or heard about, but he dressed it in images that were understandable to his contemporaries, or to himself.

Temple of the Inscriptions is adjacent to Temple XIII, where another tomb of Palenque was found in 90s of the twentieth century by archaeologists. Yet, it is the sarcophagus from the pyramid of the Temple of the Inscriptions that still attracts most attention. Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

It did not necessarily have to be a spacecraft launch or the maw belonging to a monster that looks as if it had been taken alive from Mayan nightmares. It could have been an image of a phenomenon or truth that once terrified, but at the same time aroused a sort of respect among various inhabitants of Mesoamerica at the time. What was that? We do not know. And perhaps we will never know the truth. Besides, no one can claim exclusivity for the true understanding of the Mayan images, and no diploma or academic degree guarantees their correct interpretation. One would have to arrange a chat with an ancient Maya first. I wonder how the ancients would react to contemporary interpretations of scenes that they once created. Probably their jaw would drop …

The sculptor of the sarcophagus could actually have left a hieroglyphic inscription on its surface, which would identify the man imagined there (see: Von Däniken 1991:182,186). The problem is that some of the hieroglyphs found on the sarcophagus still cannot be deciphered (Von Däniken 1991:186; Hancock 2016:157).

In the Mouth of the Earth Monster

In the central part of  the Temple of the Inscriptions, suspended at the top of the stepped pyramid, there is a series of stairs steeply sloping down from enormous stone slabs of the floor (Hancock 2016:157). The sandstone steps are polished by the soles of millions of tourists visiting Palenque and are now quite slippery, also due to the tropical humidity hovering in the air (Ibid.:157). The stairs lead to the crypt. ‘The Earth Monster’s Mouth’ measures 7 metres in height and 9 metres in length (Ibid.:158). The burial chamber is now separated from the visitors by a heavy grating, and additionally, a usually foggy glass hinders the access to it together with a possibility of seeing the sarcophagus in detail (Von Däniken 1991:184).

Fortunately, in the Anthropological Museum in Mexico City, there is a replica of the sarcophagus, which I was able to successfully photograph, although the inability to use a flash significantly worsened the sharpness of the image (see: Von Däniken 1991:185). Thus you need to have much patience to make a successful shot of this famous and controversial monument. The image itself is also often reproduced in various forms by local Indians who sell them massively to tourists. You can then hang such a woven or painted picture on the wall, of course in a vertical position, and keep trying to solve its mystery for hours after returning home from Mexico.

Featured image: Temple of the Inscriptions is adjacent to Temple XIII, where another tomb of Palenque was found in 90s of the twentieth century by archaeologists. Yet, it is the sarcophagus from the pyramid of the Temple of the Inscriptions that still attracts most attention. Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.


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On the Road from Lycia to Ancient Caunus in Caria.

Saklikent Gorge in Lycian Turkey turned out to be just the beginning of water attractions on our holidays (see:). Many more were waiting for us just at the threshold to another ancient region of Anatolia, which is known as Caria.

Through the gateway to Caria. Copyright©Archaeotravel.

Mud baths, Turtle Beach and ancient ruins

One day we travelled from Fethiye for a river cruise to Turtle Beach (Iztuzu Beach), which is situated on the Dalyan coast, already outside the historic Lycia. The natural beauty of the Dalyan delta belongs to another region, which is known as Caria. Nevertheless, various meanders of history leave monuments outside their home country, as it happened in the case of Lycian tombs, scattered also in neighbouring Caria. One of the greatest ancient cities of that region, Caunus (modern area of Dalyan), which was populated by the nation that did not have either the Lycian or Carian origins, witnessed a changeable history of the both countries, and once even found itself within the Lycian borders (see Bean, v.3 1989:142-145). As such the region equally absorbed the way of designing contemporary sepulchral architecture, typical of Lycia but having been strongly influenced by Greece. And although today the Caunus tombs are a well-known tourist attraction, the region of Caria is mostly famous for another tomb belonging to the Seven Wonders of the Ancient Word (Starożytne Cywilizacje 2007:14-15). It was the Mausoleum at Halicarnassus (modern Bodrum), which while was built by Carians, it mostly adopted a Hellenized architectural style (Ibid.:14-15). Unfortunately, it was eventually destroyed during the Middle Ages in earthquakes (Ibid.:14-15).

Most common way to admire the Lycian tombs in Caunus today is to take a boat cruise along the Dalyan River. Like most Lycian tombs (temple and house-tombs), those in Caunus are also carved high in the rock and there is, of course, a possibility to climb up the cliff and examine the tombs closer. Yet, as I was accompanied by less ambitious researchers, I had to limit my curiosity of the monuments to their observation from the River. On the other side, the most important must see (or rather do) for my companions was to plunge in the mud and thermal springs, sunbath on one of the most beautiful beaches in Turkey, the Turtle Beach, and – as its name suggests, look there for sea turtles.

Among celebrities taking a bath in the mud

First the boat took us to the mud and sulfur pools, which are known to give a beautifying effect on the skin (Kaynak 2021). They are situated on the far side of Köyceğiz Lake and attract loads of tourists posing in front of a camera after getting into the mud (Ibid.). As a matter of fact, Dalyan’s mud baths have always been very popular, also among modern Hollywood celebrities (Ibid.). It is even believed that Cleopatra herself would have travelled there to take pleasure by mud bathing (Ibid.), supposedly when she was bored with swimming in milk. Actually, it may not have necessarily been that Cleopatra (there were other ladies bearing the same name in history of the region). Still, it is a prefect advertisement for the site as the Spa for famous queens, especially those known in history for their beauty and sexual appeal. Following Cleopatra’s example, we also covered ourselves in soft and sticky liquid earth, and while waiting for it to dry in the sun, we kept taking photos. It was equally fun to plunge in one of the sulphur pools of a temperature of around forty degrees to clean from the mud (Ibid.). Such a bath, although very pleasant for skin, is not definitely perfect for your nose. It smells just like rotten eggs!

Finally, we were ready to re-take our trip by the River Dalyan; it flew us further along its winding route from Lake Köyceğiz to Dalyan Village, offering on the way a scenic views of pine-clad valleys, its various wildlife and white, rocky cliffs suspended above with the ancient ruins of the Lycian tombs.

Through the gateway to Caria

Before pouring into the Mediterranean Sea, the River brought us to the place from where a rocky cliff rises. It is clustered with the most eye-catching feature of the site: the rock-cut tombs of the ancient city of Caunus (Bean, v.3 1989:146). The city itself is located nearby the necropolis, with its acropolis on the notable crag, south of the rows of the tombs (Ibid.:146-148).

Long walls of Caunus are still visible and impressive; they stretched once from its ancient harbour, which is now a small lake, high up above the river to the precipice of the cliff (Bean, v.3 1989:140-141, 147-148). The site is now over three kilometres from the sea and so accumulated ground is not firm but composed of some soil held by reeds (Ibid.:139-140, 145). It in turn makes a vivid impression as if the solid cliff was floating on a green carpet, unrolled by the river. The ruins are most easily reached by land, passing by a modern Village of Dalyan (Ibid.:146). It is also possible to get there by boat from Köyceğiz Lake (Ibid.:146) but, unfortunately, it was not included in our itinerary.

The tombs seen from Dalyan River

When we were approaching in our boat to the site, I instinctively I pulled out my camera and took some photos of a series of temple-tombs emerging from above the river’s reeds. Then I zoomed the view out, which turned out to be extremely helpful from our position on the River, and then I looked closely at the monuments’ details.

Before pouring into the Mediterranean Sea, the River brought us to the place from where a rocky cliff rises. It is clustered with the most eye-catching feature of the site: the rock-cut tombs of the ancient city of Caunus. Copyright©Archaeotravel.

The tombs are carved in two uneven rows, of which the upper one is composed of typical Lycian temple-tombs and the lower features much simpler and randomly distributed chambers with squared openings (Bean, v.3 1989:146-147). Like in the case of the tombs in Telmessus (Fethiye) or Tlos, some of the monuments, especially the upper ones with a stone passage cut around them, can be reached easier; whereas those in the row below are less accessible (Ibid.:147). I could notice six temple-tombs on the whole but such a number is only included within the first of the five tomb clusters of Caunus that we had just approached on the boat (Ibid.:147-148).

The tombs are carved in two uneven rows, of which the upper one is composed of typical Lycian temple-tombs and the lower features much simpler and randomly distributed chambers with squared openings. Copyright©Archaeotravel.

The four of them, located on the western side of the cliff, barely compose a separate group (Bean, v.3 1989:147). They all  have in their façade two Ionic columns in antis, which are now in most cases partly broken away, and a dentil frieze with a usually undecorated pediment above, featuring acroteria at each of its three corners (Ibid.:147). Only one of the four pediments is carved with reliefs, representing two lions facing each other from the two opposite sides of the fronton (Ibid.:147), nearly with the same refinement as the pair of animals from the Lion Gate in Mycenae (southern Greece). Of course, I could not discern those from below but I rely here on a description by an archaeologist I often refer to in this article, George E. Bean (v.3 1989:146-148).

Such tombs have been dated back to the fourth century B.C., as much as the temple-tombs in Lycia (Bean, v.3 1989:147). Bean (1989:147) also writes that behind the façade of each tomb, there is only a single small funerary chamber, typically with three stone benches for the deposition of the corpses. The three of the tombs also bear inscriptions; although some include Carian words suggesting they are original, other writing is of a later date and so it indicates a re-use of the tombs by the Romans (Ibid.:147). What is more, two of the inscriptions on adjacent tombs claim them for the same three dead (Ibid.:147).

Unfinished tomb

Looking eastwards of the group of the described tombs, there is another one composed of two more monuments carved in the rock, one of which is slightly protruding forwards, against the previous four tombs (Bean, v.3 1989:147). Actually, that group, which is situated closest to Dalyan Village, had grabbed my attention first, especially the tomb on the left side (Ibid.:147). It was not only because it is the most impressive in size of all but also due to the fact it has remained visibly unfinished (Ibid.:147).

By these means, it also helps to understand how such tombs were once constructed, or rather cut out from the rockface (Bean, v.3 1989:147). While the upper parts of it, including the roof with the pediment and the frieze are almost completely carved out, the outlines of the upper shafts of the four columns in antis, together with their capitals, are still imprisoned in squared block of the rock and so look more like pilasters than columns (Ibid.:147). Then, the lower, the less notable is the progress of works; below the upper parts of the columns, the construction is just limited to smoothing and polishing the rockface (Ibid.:147). Accordingly, as it is mentioned above, carving such tombs out of the rock proceeded from up down (Bean, v.3 1989:147; Ching et al. 2010:173). Simultaneously, a much smaller tomb, hidden below in the rock on the right-side of the unfinished monument, is more similar to those from the previous group but far more disfigured, being almost completely deprived of both, its portico or the left part of the roof.

Carian type

Finally, as our boat was slowly moving forward, I noticed another group located a few metres away west from the previous one. It is also composed of less or more preserved smaller temple-tombs above some squared or round openings, looking like pigeon holes (Bean, v.3 1989:147).

At that moment, our boat unfortunately turned away from the soaring cliff with the tombs, heading off to the sea. Although I could not see more the rock-cut monuments from the distance, I know that there are two more clusters of similar type along the cliff-face, and at the most western point of the series, there is a group of tombs, whose style unexpectedly change (Bean, v.3 1989:147). They are called Carian type of tombs and they look like grave-pits cut deep into the solid rock and covered with separate and heavy lids (Ibid.:147). Additionally, they are provided with a group of tiny niches, where votive offerings for the dead were once deposed (Ibid.:147).

Who were the Caunians?

History of the city of Caunus and its inhabitants is as complicated as the described above story of Lycia. Herodotus writes that it was thought the Caunians, like the Lycians, had originated from Crete (Bean, v.3 1989:142). Yet, the ancient historian denies such a belief, claiming they must have been indigenous to their land (Ibid.:142). Judging from their unusual customs and language, which was assimilated to Carian or the other way round, Herodotus strongly differentiates Caunians from both, the Carians and Lycians (Ibid.:142). Simultaneously, Herodotus records that ‘the Caunians imitated the Lycians for the most part’, especially in the way they faced their city’s invaders and fought for freedom (Ibid.:142).

A deep river Calbis (modern-day Dalyan River) probably held the acropolis at its mouth. Copyright©Archaeotravel.

From preserved, though fragmentary records, it is also known that in the Lycian city of Xanthus, there was apparently a cult of a legendary king Caunus, the son of Miletus, who was believed to have founded the city of his name, and although he is said today to be just a fictious character, a memory of such a king had lasted in Caunus till the Roman times Crete (Bean, v.3 1989:142). Simultaneously, the triangular stele from Xanthus says that the Lycians from the city and its surroundings built an altar dedicated to the hero, approximately, in the fourth century BC. (Ibid.:142). Another trace of the hero-king, memory of whom is now covered by the ancient ruins, is the proverbial expression of a ‘Caunian love’, apparently coined in memory of a sad love story (Ibid.:142). Legend has it that Caunus’ sister, named Byblis, loved his brother so passionately that she hanged herself when he left her (Ibid.:142). In Caria, such incestuous relationships were normal and really happened among the royal families in Caria, as much as in other countries of the ancient world. Unfortunately, today it is little known about the hero, whose name is not either mentioned too often by scholars, studying the region (Ibid.:142). Is it Caunus’ punishment for having rejected the woman in love?

How mosquitos made Caunus unpopular

Even though, the sea stretched to the land in antiquity, there still were large areas of marshes, which made the region known as highly unhealthy due to recurring malaria (Bean, v.3 1989:139-140). At the same time, the land of Caunus was very fruitful and bore various fruits, such as figs, which were broadly famous in those days (Ibid.:140). Surely, the Caunians had their fishery as it existed not so long ago opposite the modern Village of Dalyan (Ibid.:141).

Strabo writes the city had got its harbour closed with a chain and dockyards (Bean, v.3 1989::140). Gracefully flowing by, a deep river Calbis (modern-day Dalyan River) probably held the acropolis at its mouth (Ibid.:140-141). According to the records, the River was also provided with a navigable channel from (Köyceğiz) Lake towards the sea (Ibid.:140-141). High above, on the crag, the fort Imbrus was constructed (Ibid.:140-141). Such a description can be easily identified with the modern region of Dalyan, though its landscape has definitely changed throughout ages (Ibid.:140-141). 

Making long history short

In ancient times, Caunus was described as a Carian city, despite its ethnic and cultural distinctions (Bean, v.3 1989:141-142). In the sixth century BC.. the Persian army invaded Lycia and Caria, including Caunus (Ibid.:142). In the following century, after the failure of the Persian invasion of Greece, Caunus was included in the Delian Confederacy (Ibid.:142-143). Following the Peloponnesian War (431–404 BC.), in 387 BC., the coast with Caunus fell again under the domination of the Achaemenid Empire (Ibid.:143). At that time, Caria was ruled by a Persian satrap but a native descendant of Caria rulers, Mausolus (377–353 BC), whose policy made the region strongly Hellenized (Ibid.:143). It was also him, who initiated the project of one of famous constructions, known later as the Seven Wonders of the Ancient World (Starożytne Cywilizacje 2007:14-15). Namely, it was the Tomb of Mausolus at Halicarnassus, also called after Mausolus, the Mausoleum. It was built between 353 and 350 BC. and was unfortunately destroyed in the course of earthquakes, between the twelfth and the fifteenth centuries (Ibid.:14-15). Nevertheless, its name has survived as a present-day term describing an impressive building housing a tomb, a mausoleum (Ibid.:14-15).

Beautiful views offered by a trip by boat. Copyright©Archaeotravel.

Coming back to Caunus, during Alexander the Great’s campaign in 334 BC. together with the whole region it was possibly handed over to Ada of Caria, a sister and a successor of Mausolus (Bean, v.3 1989:143; see: Weapons and Warfare 2018).  After Alexander’s death (323 BC.), the city continuously changed its rulers among the king’s heirs (Ibid.:143-144). Eventually, around 190 BC., Caunus was bought by the Rhodians from the generals of Ptolemy (Ibid.:144). It just happened one year before Caria and Lycia were also joined to Rhodes by the Romans, as a result of the Battle of Magnesia in 189 BC. (Ibid.:144). Those lands had been the Rhodians’ possession between 189 and 167 BC., until the Province of Asia was established by the Roman Empire in 129 BC. (Ibid.:144). Soon after, Caunus became a part of Lycia but in 85 BC., the Romans gave it back to Rhodes due to the fact Caunus had harshly acted in favour of the opponents of Rome (Ibid.:144).

On the whole, Hellenistic times seemed quite unpredictable; cities and countries were juggled in the hands of the contemporary powers (Bean, v.3 1989:145). The situation had not changed much in the Roman times; accordingly, Caunus was once recorded as a free city, another time as undergoing double servitude to Rome and Rhodes (70 AD.) (Ibid.:144-145). By that time, Caunus had already been a fully Hellenized city, which was likely to have forgotten its Carian origins, although it had never been truly colonised by Greece (Ibid.:143-144). Additionally, the trade of Caunus and of other cities in the region located along the coast, had greatly suffered from the silting process separating the cities from the sea by over three kilometres (Ibid.:145-146). Adding the fact that the city was infamous for its unhealthful location, it did not generally attract visitors’ attention or enjoy popularity among philosophers, who usually accused the Caunians of being foolish and so deserving their misfortunes (Ibid.:139-140,145).

Along the River Dalyan. Copyright©Archaeotravel.

Not without a surprise, the situation has entirely changed now; every day, tourists from all over the world come to see the archaeological site, either drawn by a natural beauty of the region, where the sea and river meet or the ruins, nearby which they can take a mud bath. Above all, they all come for the ever-present sun.

Goodbye to Caunus

İztuzu Beach (Turtle Beach) stretches for almost five metres and it is the place where navy blue waves of the Mediterranean meet more turquoise waters of the Aegean. It is situated near Dalyan and for its beauty, it attracts every day great numbers of tourists, who usually enjoy sunbathing and swimming in the warm sea for hours. It is also one of the main areas in the Mediterranean, where loggerhead sea turtles, called Caretta Caretta breed and so there is a chance to encounter them while dragging their shelled bodies on the sand. Personally, I doubted it that turtles would have come out of hiding when there were hordes of people screaming and looking for some to see. Moreover, the species is under a strict protection.

Nevertheless, it was fun to see my little cousins carefully following the turtles’ traces in the sand; knowing they must be very cautious, they patiently kept observing sand holes where the turtles may have laid their eggs. Those, however, had already been abandoned.

After taking a swim in the sea, I was laying in the shadow and looking through the archaeological guide-book I had brought with me for my journey along Lycia and Caria. Its author, the archaeologist George E. Bean helped me to learn about the history of the regions beforehand and understand more about their architecture by comparing his description to what I had found on place. And although I was unable to reach every single corner of each tomb I met on my way, I complemented my own observations with the author’s notes.

The Turtle Beach, where navy blue waves of the Mediterranean meet more turquoise waters of the Aegean. Copyright©Archaeotravel.

When the sun started getting reddish and the sea waters darkened on the horizon, I knew our stay in Caria was almost over. It was high time to come back to Fethiye. Yet, I was happy I could again see the tombs of Caunus on our way back along the River. And what about you? Do you also enjoy this kind of sepulchral architecture?

Featured image: The remains of ancient Caunus in Dalyan (Caria), with its most distinctive landmarks: Lycian rock-cut tombs encrusting high and steep cliffs. Copyright©Archaeotravel.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.


Bean G. E. (1989). Lycian Turkey. An Archaeological Guide, Vol. 4. London: John Murray Publishers.

Bean G. E. (1989). Turkey Beyond the Meander. An Archaeological Guide, Vol. 3. London: John Murray Publishers.

Ching F. D.K., Jarzombek M. M., Prakash V. (2010). A Global History of Architecture. USA: Wiley Publishing. The Second Edition.

Kaynak (2021) “Dalyan Mud Baths”. Available at <https://bit.ly/3sTDcmZ>. [Accessed on 27th April, 2021].

Starozytne Cywilizacje (2007). “Siedem cudów śwata. Starożytne wspaniałości.” In: Starozytne Cywilizacje. MMX International Masters Publishers AB.

Weapons and Warfare (2018). “Ada of Caria”. In: Weapons and Warfare. History and Hardware of Warfare.

Last Queen in the Valley of the Kings

Hatshepsut’s Mortuary Temple had been finished; it rose unsurpassed in its beauty and solitude on white terraces, surrounded by columns, against the background of a dark massif of mountains (Żylińska 1972-1986:65).

Temple tells a story

Having come back from the land of Punt, the Queen began to decorate the walls of her temple (Żylińska 1972-1986:65). She had her history painted on them, from the moment when her mother, Queen Ahmose, was visited by the god Amun-Re, through her birth, the announcement of her succession to the throne, the history of the trip to Punt, until the day when she would give her divine body under the protection of the goddess Nut, asking her to make place for her among the stars lest she die forever (Ibid.:65-66).

Porticos have pillars reconstructed by archaeologists, decorated on the front with colossal Osirian statues representing the Queen in the form of the god Osiris. Copyright©Archaeotravel.

A transverse ramp led us to the middle level of the temple, with a similar architectural shape to the lower one, but more extensive (Lipińska 2008:161). On both sides of the portico closing the courtyard from the west, there are chapels of collaterally worshiped deities in the temple (Ibid.:161). The Hathor chapel was built on the south side, and the Anubis chapel on the north side (Ibid.:161,163). In the chapel of the goddess Hathor, embodied by Hatshepsut, both pillars and smooth, cylindrical columns topped with so-called Hathor’s capitals were built (Ibid.:164).

The north side of the central courtyard is occupied by a colonnade that was never completed (Lipińska 2008:163). The northern portico is decorated with bas-reliefs illustrating the legend of the divine birth of Hatshepsut (Ibid.:163). The southern portico, on the other hand, is decorated with the highly detailed image of the exotic land of Punt, famous and unusual in the history of ancient Egypt, where the Queen went with a trade expedition (Ibid.:163).

The third story of the Temple has a different spatial layout and here are the main rooms of the monument (Lipińska 2008:164). From the second, central courtyard, we climbed the ramp again (Ibid.:164). At the end of the way up, we were greeted by another terrace with porticoes on either side (Ibid.:164). Porticos have pillars reconstructed by archaeologists, decorated on the front with colossal Osirian statues representing the Queen in the form of the god Osiris; they are five meters high each (Ibid.:164). The entrance is on the axis and leads through a red granite portal (Ibid.:164). It guided us to the inner courtyard, behind which there is a barque shrine, partially carved into the rock and deeper, in the very heart of the temple, there is the sanctuary or the holy of holies (Ibid.:164). On both sides of the inner courtyard there were additionally chapels: on the north side an open courtyard with the altar of solar worship, and on the south side, there was a tomb chapel and two sarcophagi: one for Hatshepsut and the other for her earthly father; these were their sacrificial halls (Lipińska 2008:164; Żylińska 1972-1986:66). For everything that Hatshepsut undertook and everything that she did, she did with her father Thutmose the First in mind, who placed her over his son and appointed her his successor (Żylińska 1972-1986:66).

Hatred Queen

However, not everyone worshiped the Queen as their Pharaoh (Żylińska 1972-1986:67). For the son of Thutmose the Second, Hatshepsut was an ordinary usurper (Ibid.:67). Thutmose the Third hated her with the hatred of all the years spent in the shadow of her divinity (Ibid.:67). He wanted to fill them with the toil of military expeditions, the clamour of battles, the march through the deserts and the glory of the military victory (Ibid.:67).

Deir El Bahari; Hatshepsut’s Mortuary Temple. Photo by Nina Evensen (2015). Colours intensified. Photo source: Free pictures at Pixbay.

Eventually his wish came true (Żylińska 1972-1986:67). The news of the war fell on Egypt like a vulture from high above; Syrian cities revolted against the Egyptian crews, demolished Egyptian holy statues and proclaimed independence from Pharaoh’s rule (Ibid.:67-68). On the day of the Egyptian army’s departure, Hatshepsut handed over the highest military power to Thutmose (Ibid.:68). A few months later, news began coming into Thebes announcing the victory of the Egyptian army (Ibid.:68). All Egypt was in a frenzy of joy (Ibid.:68). It was the first triumph of war in over thirty years that struck and drunk city dwellers like young wine (Ibid.:68). Only mothers cried for their slain sons and worried that their bodies were not properly prepared for the journey to the Land of the Dead and that their souls might not have been brought to the Judgment of Osiris and so died for eternity (Ibid.:68-69).

A view to a sanctuary chamber on the upper platform of the Temple of Hatshepsut, Luxor’s west bank, Egypt. Photo by Przemyslaw “Blueshade” Idzkiewicz (2004). CC BY-SA 2.5. Colours intensified. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Hatshepsut proclaimed Thutmose the Third the co-regent of Egypt, and they were to share power together (Żylińska 1972-1986:69). There were also rumours that he was going to marry Princess Neferure (Ibid.:69). And when people had ceased to worry about the change and to speculate whether the Queen’s stepson would be satisfied with his assigned share of power, Hatshepsut unexpectedly passed away (Ibid.:69). Nobody ever found out under what circumstances she died (Ibid.:69). Yet not long ago, it was still a mystery of history.

Mystery of the history

Moreover, Hatshepsut’s body mysteriously vanished from the sarcophagus she had chosen for herself, and in which she would have given her immortal soul into the hands of the goddess Nut; when the sarcophagus was reopened again, it turned out that the queen’s mummy originally buried there disappeared without a trace (Żylińska 1972-1986:69; Quilici 2007). However, the Hatshepsut’s sarcophagus had never been deposited in her Mortuary Temple, which was rather a cenotaph (Quilici 2007; Lipińska 2008:171). The Hatshepsut’s last resting place was to be in the Valley of the Kings, intended for the Pharaohs (Lipińska 2008:171). This place, due to its seclusion and difficult access, provided a better protection against robbers (Ibid.:171). It is also believed that the choice of the site could equally be influenced by the landscape, above which the mighty triangular peak of El-Kurn has stood, towering over the valley like a colossal pyramid (Ibid.:171).

Site plan of Deir el-Bahari (in French). Drawing by Gérard Ducher (user:Néfermaât) (2006). CC BY-SA 2.5. Drawing and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Already at the beginning of the Eighteenth Dynasty, to which Hatshepsut belonged, the existing way of building a royal tomb and a mortuary temple in one sepulchral complex was given up (Lipińska 2008:171). It was considered that the separation of these two elements may have contributed to a better protection of the tomb, which had since been placed in the distant, hard-to-reach rocks of the mountain massif in Western Thebes (Ibid.:171). These are complexes belonging to both the Valley of the Kings and of the Queens (Pharaohs’ wives). It seems that this chapter in the sacred sepulchral architecture of Egypt was initiated by the second ruler of the Eighteenth Dynasty, Amenhotep the First (Ibid.:171). His son and Hatshepsut’s father, Thutmose the First, on the other hand, introduced the construction of a new type of royal necropolis in the Valley of the Kings, a desert valley on the other side of the massif closing the Deir el-Bahari Valley from the west (Ibid.:171).

Deir el-Bahari with Hatshepsut’s temple, temple of Thutmosis III and Mentuhotep II, West Thebes, Egypt. Above the necropolis complex towers the mighty triangular peak of El-Kurn, like a colossal pyramid, which had probably influenced the choice of the place by the pharaohs. Photo by Nowic (2003). CC BY-SA 3.0. Colours intensified. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Hatshepsut’s mummy was buried in the tomb labelled today as KV20, the deepest tomb in Egypt, situated over ninety-one metres underground, in the Valley of the Kings (Quilici 2007). “It was probably the first royal tomb to be constructed in the valley, […] distinguished from other tombs in the [area], both in its general layout and because of the atypical clockwise curvature of its corridors. […] KV20 was the original burial place of Thutmose I […] and later was adapted by his daughter Hatshepsut to accommodate both her and her father” (“KV20” 2020).

The Name to be forgotten

After Hatshepsut’s death, no mourning rituals were announced, and no coronation ceremony took place, as if Thutmose the Third had been a Pharaoh since his father’s death (Żylińska 1972-1986:69). Sometime after these events, by the orders of the new Pharaoh, teams of workers began the painstaking work of destroying all traces of Hatshepsut’s existence (Ibid.:69).

Thebes – Temple Dêr el Bahri. Photo by Ephtimios Freres – Rare Books and Special Collections Library; the American University in Cairo, early twentieth century. Public domain. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

In the Sphinx Avenue and in the porticoes on the third-level terrace of her temple, the stonemasons smashed the heads with the face of the Queen, then they threw her statue in coronation garments from a granite base and proceeded to demolish her representations in relief (Żylińska 1972-1986:69). First they hammered her eyes, then they knocked down the uraeus from her forehead, and when they did so, they smashed the statue into thousands of pieces, by throwing it from the height of a two-story building (Ibid.:69). All inscriptions with the name of Hatshepsut were being erased with chisels for many months (Ibid.:70). In their place, engravers carved the name of Thutmose the Third or his son Amenhotep the Second (Żylińska 1972-1986:70; Quilici 2007). Also the papyri with the Queen’s edicts were destroyed, and her painted images were covered with thick layers of plaster (Żylińska 1972-1986:70).

Preserving the name of the dead was essential in ancient Egypt as they would not have been recognised by gods. And if the name of a mummy had been forgotten, they would not have been able to enjoy the Eternal Life and their souls would have disappeared into nothingness. Just in the same way as it was going to happen with the soul of deceased Hatshepsut. Erased from the list of Pharaohs, without a sarcophagus, not prepared for the way to the Land of Osiris, she was to fall apart, disappear from memory and dissolve into emptiness (Żylińska 1972-1986:70).

Thutmose the Third began his reign of Egypt by denying the existence of the last divine Queen of Egypt, who was a Pharaoh (Żylińska 1972-1986:70).

Rebirth of the Pharaoh

Thirty-five centuries later, the remnants of the desecrated statue of the Queen were excavated from the sand layers, as the stonecutters had left them, and a team of archaeologists carefully put them back together, restoring the statue of the divine Hatshepsut to its original shape (Żylińska 1972-1986:69). Similarly, Osiris’ statues with her features were discovered and reconstructed, along with other covered or smashed images of the Queen, who became one of the most famous and colourful, yet mysterious Pharaohs of Egypt (Lipińska 2008:164-166).

Osiris’ statues with Hatshepsut’s features were discovered and reconstructed, along with other covered or smashed images of the Queen. Copyright©Archaeotravel.

Since 1961, the Hatshepsut’s Mortuary Temple has been reconstructed by Polish archaeologists and other specialists, initially under the supervision of a Polish famous archaeologist, Kazimierz Michałowski (Lipińska 2008:165; see: Saint Anne of Nubia – “It Will Make You Speechless”). During the reconstruction of the retaining wall, which is the background for the temple, a terrace carved in the rock was discovered, probably to protect the temple from rock fragments falling down (Ibid.:165). The destruction of the temple was not made entirely by Thutmose the Third himself; It experienced many further destructions, for example, in the Late Period, and was rebuilt in the Ptolemaic and Coptic times (Ibid.:165). The Ptolemaic enlarged the sanctuary of Amun, creating another one behind it, devoted to the cult of the three healer deities (Ibid.:165). Deir-el Bahari was then famous for miraculous healings, where the sick came even from distant Greece (Ibid.:165-166). In the Coptic times, a Christian monastery was built on the upper level of the temple, and the valley owes its name to the monastery: Deir-el Bahari means ‘northern monastery’ (Ibid.:166).

Beside the Stepmother anyway

During the work in the Deir el-Bahari Valley, Polish archaeologists unexpectedly also found the ruins of the temple of Thutmose the Third, located in the vicinity of the temple of Hatshepsut, his hatred stepmother (Lipińska 2008:166). The construction of the Temple of Thutmose the Third began when, at the Pharaoh’s order, the statues of Hatshepsut were smashed and carvings with her names erased from the walls, which was associated with the destruction of all the traces of the reign of the Queen-Pharaoh (Ibid.:166). Although Thutmose the Third was one of the greatest Pharaohs in history, it is ironically, the Mortuary Temple of Hatshepsut, and not the ruins of the Temple of Thutmose the Third, that arouses widespread admiration today, and the very name of the Queen, so shamefully removed, is much more often mentioned by visitors to Deir el-Bahari.

In front of Deir el-Bahri; Hatshepsut’s Mortuary Temple. Photo by Ron Porter (2014). Photo cropped. Colours intensified. Photo source: Free pictures at Pixabay.

The building of Thutmose the Third was situated in the centre of the Valley, obviously on a higher level than the Queen’s temple, despite very unfavourable natural conditions (Lipińska 2008:166). The structure erected had a shape borrowed from both neighbouring temples; those of Mentuhotep the Second and Hatshepsut (Ibid.:166). Tens of thousands of fragments of polychrome reliefs were recovered from the rubble of this, also three-level temple, which was destroyed at the end of the New Kingdom (Ibid.:166). Reconstruction of the wall reliefs allowed to recreate the decoration of the temple after many years (Ibid.:166).

Temples in the Valley of Deir el-Bahari

During the New Kingdom, shortly after the reign of Thutmose the Third, there were three buildings in the Valley of Deir el-Bahari, which must have been once a magnificent complex of architecture harmonizing with the natural landscape of the Valley. At that time, the temple of Mentuhotep had not yet been destroyed (Lipińska 2008:166). Next to it, the temples of Hatshepsut and Thutmose the Third rose in all their majesty (Ibid.:166). The wide processional avenues, running parallel to the bottom of the Asasif Valley, were framed by necropolises with decorated tomb facades (Ibid.:166). As underlined above, the background of the whole necropolis were rock cliffs dominated by the El-Kurn peak with a triangular top resembling a pyramid (Ibid.:166). The rhythm of the horizontal temple porticoes and the sloping ramps of the three temples, each different but consistent with the others in style, must have produced a wonderful effect in the rays of the sun continuously shining from the cloudless sky (Ibid.:166-167). This effect was enhanced by the colour contrasts between the bright brown rocks being the background of the temples, the white and rich polychrome of the buildings, and the green foliage of the trees that used to grow in the lower courtyards (Ibid.:167).

The so-called Hathor chapel on the south side of Temple’s second courtyard. A photographer at work. Copyright©Archaeotravel.

At the foot of the ramp in the courtyard of the Hatshepsut’s Temple, there were also two small pools filled with water (Lipińska 2008:167). Each part of the architectural complex harmonized with each other and with the surrounding environment; they were built gradually over the centuries, and although there is no question of spatial planning, according to scholars, the harmony of the whole complex and the organic connection of the buildings with nature are the main advantages of Deir el-Bahari, as opposed to richer but chaotic buildings in the Amun-Re district of Karnak in Eastern Thebes (Ibid.:167,170).

Hathor looking down from the capitals

I was standing on the south side of Temple’s second courtyard, admiring pillars and columns at the Hathor chapel. They are usually referred to as the Hathor or sistrum columns (The MET 2020). Their capitals show heads of Hathor in the form of a cow on four opposite sides. Each is additionally topped with a naos-sistrum sound-box (Ibid.). Such a capital had been quite typical of Egypt since the beginning of the New Kingdom. Between them, I noticed smooth movements of a photographer nimbly climbing the pillars and columns up and down with a huge camera hanging from his neck. From time to time, he froze in a peculiar pose in his acrobatic dance between the columns, and took a series of pictures of the cow goddess.

Neglected mummy from KV60

Hatshepsut’s story was still on my mind. I was trying to piece it together. Her name was wiped out from the history intentionally, her legacy destroyed, her mummy vanished for centuries (Quilici 2007). Actually, it was officially uncovered in the tomb KV60, located close to the KV20, in 1903 by Howard Carter (Ibid.). It is speculated that Hatshepsut’s mummy had been removed from her original tomb and shifted from place to place for centuries, in order to save it either from grave robbers or a final destruction by the following Pharaohs, taking into account Hatshepsut’s name was being hacked away in the entire Theban region by Thutmose the Third (Ibid.).

Matriarchy had already been over

For some reasons, her image as the Pharaoh must have been removed (Quilici 2007). It was so, along with the names of Senenmut and Hatshepsut’s daughter (Ibid.). By this means, Neferure, Hatshepsut’s desired heir to the throne, would simply vanish from history (Ibid.). Female Pharaoh grooming her own daughter to be her successor to the throne must have been too radical in her plans at the time of patriarchy (Ibid.). This is probably why Neferure’s last resting place is located high in the mountain cliff, In the small opening in the rock, very distant from Thebes and difficult to be found (Ibid.). Moreover, the hacked away name of the Queen was usually being replaced by the name of Thutmose the Third’s son, Amenhotep the Second (Ibid.).

Pillars with the Hathor capitals in the Mortuary Temple, Deir el-Bahri. Photo by Dezalb (2015). Colours intensified. Photo source: Free pictures at Pixbay.

After Kara Cooney, it is possibly the key to the whole campaign against Hatshepsut and severe attempts to destroy her legacy; she and her female heir must have been removed from common memory to avoid a woman descendant to mount the throne in Egypt (Quilici 2007). Therefore the attack on Hatshepsut’s legacy was all about the politics of succession; Thutmose the Third wanted to make sure that the succession remained patrilineal, that it to say, it would be passed down from father to his son (Ibid.). But in order to guarantee a smooth succession, it was essential to remove the Queen and her daughter from history (Ibid.). Eventually, it made Thutmose the Third’s masculine descendants take Hatshepsut’s place (Ibid.).

Tale-tale tooth

Discovered in the first decade of the twenty-first century, the mummy of Hatshepsut has finally found its place among other royal mummies in the Museum of Archaeology in Cairo, Egypt (Quilici 2007). It has her left arm bent in a royal position, the feature typical of deceased Egyptian Pharaohs, and is still well preserved, despite the fact it used to be long transferred from one tomb to another before being finally abandoned and neglected (Ibid.). Identifying the Hatshepsut mummy was only possible by means of an analysis of a tooth found in the canopy box with the Hatshepsut name (Ibid.). Further  studies have also revealed she died at the age between forty and fifty and was killed by an infection in her body (Ibid.).

Walking down the ramp of the Temple. Photo taken by Marek, Copyright©Archaeotravel.

Rescued from oblivion and becoming famous

Owing to the team of specialists, led by the Egyptian archaeologist, Zahi Hawass, the Queen was rescued from oblivion (Quilici 2007). Hatshepsut has regained her position as one of the most powerful women that the world had ever seen on the throne of the Pharaohs (Ibid.).

Since then, the mysterious story of Hatshepsut has attired attention of various scholars and authors, such as an associate professor of Egyptology, Dr Kara Cooney  whose book, The Woman Who Would Be King (2014) greatly underlines Hatshepsut’s legacy.

Author Kara Cooney on Hatshepsut’s Legacy (2014). Kara Cooney, author of “The Woman Who Would Be King” and leading Egyptologist, discusses Hatshepsut, Egypt’s longest reigning female pharaoh and her legacy. Learn more about Hatshepsut at KaraCooney.com. Film source: The Crown Publishing Group, a division of Random House, Inc. In: The Crown Publishing Group Youtube Channel.

Featured image: The Mortuary Temple of the Queen Hatshepsut in Deir El Bahari. Photo by Joanna Gawlica-Giędłek (2017). Free images at Pixabay.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.


“Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/38ldwbX>. [Accessed on 6th January, 2021].

“KV20” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/3omnZcP>. [Accessed on 6th January, 2021].

Free pictures at Pixbay. Available at <https://bit.ly/2LtkZgc>. [Accessed on 7th January, 2021].

Lipińska J. (2008). Sztuka starożytnego Egiptu. Warszawa: Arkady.

Quilici B. (2007). Secrets of Egypt’s Lost Queen. Starring Kara Cooney and Zahi Hawass. Discovery Channel.

The Crown Publishing Group (2014). “Kara Cooney on Hatshepsut’s Legacy”. In: The Crown Publishing Group, a division of Random House, Inc. In: The Crown Publishing Group Youtube Channel. Available at <https://bit.ly/3pH7BUO>. [Accessed on 3rd February, 2021].

The MET (2020). “Column with Hathor-emblem capital and names of Nectanebo I on the shaft. 380–362 B.C. Late Period”. In Metropolitan Museum. Available at <http://bit.ly/3q1SMfv>. [Accessed on 6th January, 2021].

Żylińska J. (1972-1986). Kapłanki, Amazonki i Czarownice. Warszawa: Państwowy Instytut Wydawniczy.

Sleeping Beauty of the Underworld

Numinous statuettes of Malta from the late Neolithic (3200-2500 B.C.) are one of the unique expressions of the mysterious culture of megalithic builders who abruptly appeared and lived on the Island between 3800 and 2500 BC., scattering around it over twenty constructions, today referred to as temples (Biaggi 1986:131; Magli 2009:49). For this reason the period between around 3500-2500 BC. in Malta is usually “referred to as the Temple Period, during which this small and arid archipelago, composed of Malta, the nearby Gozo, and tiny Comino, [yet by] 3400 BC. [had already witnessed] one of the greatest architectural marvels of all human history, the Ggantija Temple, [believed by academics to be the second oldest temple in the world (just after Göbekli Tepe)]” (Magli 2009:47).

Remains of the colossal statue (originally two metres high) from Tarxien Temple (reconstructed replica) in Malta. It shows only the lower part of a female body with a carved pleated skirt. It is probably the oldest monumental representation of a human being in the region of the Mediterranean, from prehistory. The original statue has been moved to the National Museum of Archaeology in Valetta, Malta. Copyright©Archaeotravel.

What is surprising, the activity of those megalithic masters living in Malta can be archeologically observed merely for one millennium; after this period they disappeared as unexpectedly and mysteriously as they came into being (Ibid.:48). As it is not possible to surely identify a real purpose of the megalithic ‘temples’ erected in Malta, it is not either likely to fully understand the idea of carved figures left in various sacred areas between the megaliths.

Females of prehistory

After Cristina Biaggi (1986:131) prototypes of Maltese figures either belong to the Palaeolithic or the Mediterranean Early Neolithic. Consequently, most of these statuettes are believed to represent females, who are additionally called deities, goddesses or women ascribed of divine powers or a high importance and status (Ibid.:131-138).

“[Some] figures are nude, other clothed, some do not show primary sexual traits, and all are obese” (Ibid.:131). Although each group shares certain characteristics and there are differences between them, their peculiar style of the carving is distinctive of Malta, for no other statuette looking like them has ever been found elsewhere in the Mediterranean (Ibid.:131).

The earliest women in Malta

Female figures of the so-called Grey and Red Skorba Phases represent the earliest Maltese female statues made of clay; they are naked and feature strongly emphasised sexual characteristics (Biaggi 1986:137). They do not look obese as later representations and usually measure up to ten centimetres in height.

Maltese giantesses

With time, Maltese “[depictions] of the numinous tend to increase in size and elaboration or stylisation when a religion becomes entrenched in a society” (Biaggi 1986:137).

The earliest representations of Maltese females. Red Skorba figurine with the visibly underlined breast and pubic. Photo by Hamelin de Guettelet (2008). CC BY-SA 3.0. Photo source: “National Museum of Archaeology, Malta” (2021). In: Wikipedia. The Free Encyclopedia.

Among them, opulent but rather sexless representations of the Maltese divine womanhood probably look like legendary Maltese giantesses, who may have once dragged megalithic stones on their backs (Ibid. 131-137). They were either naked or partially clothed, and carved in various positions: standing, squatting or seated with their legs folded (Ibid.:131-132). Although not numerous, some of those ladies could reach almost three metres in height (Ibid.:132). They all are carved from Globigerina limestone, the local stone commonly used also for constructing the megalithic temples in Malta (Ibid.:131). Yet some figurines were also manufactured of alabaster-like stone, which was definitively imported, possibly from the mainland of modern Italy (Pace 2004:22). Such materials from beyond the archipelago may have had a special significance and value, and so did the objects made of it (Ibid.:22).

Refined sculpture of terracotta

Another group of statues, different in style but contemporary to the ‘giantesses’, are much smaller in size and made of clay; moreover, their physical appearance and attire clearly define females (Biaggi 1986:137). Similarly to the larger statues, they are also either naked or dressed (Ibid.:137). Although the Maltese type of female figures phased various metamorphoses, most of their representations were covered in paint of red ochre (Ibid.:131). Red ochre, “which may have been menstrual blood in its earliest manifestation, is the [colour] of fertility, death and rebirth – the [colour] of the [goddess]” (Ibid.:136).

Lying on a coach in the underworld

“About thirty of [those various] figures, ranging in [style and] size from [ten centimetres] to about [three metres] have been found in the […] Maltese temples and in the Hypogeum” (Biaggi 1986:131; see Maltese History in the Negative).

Figurines found in the Hypogeum. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

Among other Maltese statuettes and carvings, three particular figures have been found in the Hypogeum of Ħal Saflieni (Pace 2004:22). The statues belong to the group of smaller representations and are made of pottery (Biaggi 1986:137; Pace 2004:22). All the three statues are depicted while lying on a couch, possibly covered with a rush grass mattress (Pace 2004:22; Haughton 2009:163). The presence of such a coach seems to be symbolic as it also appears among the other type of female representations (Pace 2004:22). Although it today escapes a clear understanding, in all three cases, the base of the coach is rendered in a refined manner as an arrangement of framework (Pace 2004:22; Information boards in the National Museum Of Archaeology of Malta (Valetta) 2017). One of the carvings depicts something that looks like a fish, whereas the two others show definitely female figures (Information boards in the National Museum Of Archaeology of Malta (Valetta) 2017).

The sculpture exhibited in her own display case is widely known as Sleeping Lady or Sleeping Beauty. Nowadays, this female statue is also the symbol of the Neolithic ideal of femininity in Malta.National Museum of Archaeology in Malta. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

The first one, partially damaged in her lower part, reveals traces of red ochre; the woman is headless or decapitated, and she is lying face down on a coach (Pace 2004:22). The whole carving measures four centimetres height, nine centimetres length and almost six centimetres width (Ibid.:22). In turn, the second female statue has been preserved nearly complete, except some damage made in the area of her breast (Pace 2004:22; Haughton 2009:163). Also the left corner of the couch she is lying on is slightly broken and its shape is more oval in comparison to the previous two, which are more squared. The whole sculpture is seven centimetres high, twelve centimetres long and almost seven centimetres wide (Pace 2004:22). Slight traces of red ochre are also visible on it (Haughton 2009:163). The female figure is depicted in a lying posture similar to the ‘counched’ burial position, typical of an arrangement of the body in prehistoric graves (Pace 2004:22). She looks as if she was peacefully asleep. Thus the sculpture is widely known as Sleeping Lady or Sleeping Beauty. Nowadays, this female statue is also the symbol of the Neolithic ideal of femininity in Malta.

Face to face with a mystery

Currently all the three terracotta statues are part of the exhibition in the National Museum Of Archaeology in La Valetta, Malta, where I have had an opportunity to study them, among other Maltese artefacts from the Temple Period. Whereas the two former figures, including the fish-like creature and a woman, lying down on her face, are exposed together in one display glass case, the Sleeping Lady, as the most privileged of all, not only has been provided with her own display case but also with a special room filled only with dimmed light, as if in fear of disturbing her dreams.

Fat but graceful

The Sleeping Lady is a highly refine representation of the reclining, excessively opulent but graceful woman (Pace 2004:22); she is lying on her right side on top of a couch, resting her head probably on a pillow that is slightly sagging under the weight of her head. While her right hand is delicately gripping the pillow, her left hand is resting on the corpulent forearm of her right hand. Like many other female Maltese statues, she is dressed in a bell-shaped skirt with fringes or pleating at the bottom, reaching halfway down the legs (Biaggi 1986:132).

The famous Sleeping Lady of Malta. a clay figurine found in the deep pit leading to the third level of the Hypogeum. National Museum Of Archaeology, Valetta, Malta. Copyright©Archaeotravel.

The Lady’s opulent legs seem to be slightly bent at the knees, so the skirt only reveals their small lower part that looks like two hewn pegs instead of the feet, visible at the edge of the couch. The upper part of the woman’s body is naked, with a rather opulent abdomen in the form of a single roll of fat with a noticeable navel. Her large and full breasts are partially covered with her left arm. In proportion to the Lady’s enormously obese body, especially her excessively modelled bulbous arms, thighs and huge buttocks, whose details are discretely hidden under the material of the skirt, the figure’s hands and head seem extremely minuscule, as if they did not belong to the same person (Ibid.:132). Her face is oval with delicate features: two small horizontal lines resemble closed eyes, “the nose wide with a definite ridge, the mouth [tiny and barely visible]” (Ibid.:132). Her hair is close to the head but long, reaching her arms (Ibid.:132).

Natural and artificial obesity

Obesity of the Maltese statues from the Temples Period, which is also evident in the case of the Sleeping Lady, seems to have been really important as it appears in all contemporary types of female figurines, either clothed or nude, including those with rather asexual characteristics (Biaggi 1986:137-138).

It possibly “implied power, sanctity, [and] strengthened their [aesthetic-symbolic] connection with the temples, which they resembled in shape”. (Ibid.:138). Following “the law of mimetic magic, [obesity may also] have had a magical function to [favour] fecundity, [for example], the growth of vegetation” (Ibid.:138). Nevertheless, Cristina Biaggi (1986:138) assumes that in contract to natural obesity, the artificial overweightness, possibly represented by a far-reaching stylisation of sculpted female representations was “a product of patriarchal culture because it presupposes the loss of woman’s control over her own body, which is not a characteristic of early Goddess worshipping cultures” (Ibid.: 138).

Lady of the Temple Period

Like other Maltese figures, the Sleeping Lady “dates back to the island’s [mysterious] prehistory, specifically to the thousand-year span, [between circa 3500 to 2500 BC.]” (Magli 2009:47). Due to the high quality of the sculpture, and the belief that its image expresses the numinous of an already well-established religion, it is believed to date back to a later period, that is, between 3000 and 2500 BC. (Biaggi 1986:137; Haughton 2009:163). The fact is, however, that the exact date of the figure is unknown and provided dating is merely modern guessing.

The final resting place of the ‘Sleeping Lady’

As mentioned above, “[this remarkable] gem [of Malta] was unearthed in one of the world’s most singular and enigmatic places, the Hypogeum of Hal Saflieni” (Magli 2009:47). Precisely, the statuette was found either in one of the niches of the Hypogeum’s Main Chamber (Zone A) or, more likely, in a nearby deep pit or a cavity (Zone B), also referred to as the Snake Pit (Pace 2004:39,48; Haughton 2009:163) or “the final resting place of the ‘Sleeping Lady’” (Pace 2004:48). The pit is one of numerous examples of a high quality of craftsmanship applied in the Hypogeum (Ibid.:48). The discovery of the Sleeping Lady in that cavity would suggest it “may have once served as a repository of votive offerings” (Ibid.:48). Moreover, alongside the pit, between two decorated pillars, there is a shaft leading to the most mysterious place of the construction, the Third Level (possibly the deepest in the Hypogeum), where visitors are not allowed to descend (Ibid.:48). The ceiling of the elliptical chamber, where the pit is located, is additionally covered in abstract paintings, representing spirals, polygons and plant-like patterns, all made with red ochre (Ibid.:48). Such a decoration equally evokes a rather religious purpose of the site (Ibid.:48). In such circumstances, the terracotta statue may have been deposited in the pit as a burial offering possibly representing death seen as an eternal dream or the afterlife (Pace 2004: 22 Haughton 2009:164).

In the Hypogeum, which is usually interpreted as the subterranean temple of the dead and the necropolis, the deceased were buried accompanied by offerings of significant and religious funerary objects, which also included sophisticated artworks, such as the Sleeping Lady (Pace 2004:22). The meaning of the funerary custom of deposing valuable offerings alongside the dead is unknown but, likewise in other ancient cultures, as Egypt, they were definitely to accompany the deceased in their way to the afterlife and to reveal their high social status in front of their mysterious deities (Ibid.:22).

Is it the Mother Goddess or a priestess?

Along with other figurines from the Mediterranean region, the Sleeping Lady has sometimes been used as a testimony to support the theory of the universalism of the Mother Goddess or the Great Peacemaker Goddess who was worshiped in prehistory (Haughton 2009:163-164). It is a theory advocated by researchers such as Marija Gimbutas and Vicki Noble (Ibid.:164; see Noble 2000). It is the fact that “[the] worship of the Great Goddess was universal from the upper Paleolithic to the late Neolithic in Europe and the Near East, [and the] Maltese goddess figures represented the very stylised visual manifestation of that worship in Malta” (Biaggi 1986:137).

“No one knows if the sculptor who carved [the Sleeping Lady] was inspired by his own beloved or was simply following an established model of an idealised female form” (Magli 2009:47). National Museum of Archaeology in Malta. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

However, apart from female figurines, there is no other evidence of the universality of this peaceful matriarchy cult, and the finds of weapons and fortifications dating back to the same period weaken the argument reinforced by the contemporary female sculpture (Haughton 2009:164). Moreover, Cristina Biaggi (1986:137) claims that the Sleeping Lady, as much as the other female lying on her face, does not represent a goddess but a priestess “engaged in dream incubation [or] an adept in giving oracles, interpreting dreams, or suggesting cures for illness” (also see: Krzak 2007:85).

Entering an incubation dream

The whole religious rite of falling into an incubation dream may have consisted in the fact that priestesses or priests, or both, went to the tomb, or to a cave or temple, and during their sleep they would obtain divinations from deities or ancestors, or seize their vital forces (Krzak 2007:85). This was considered in classical times in Greece and Rome, where such practices were certified as early as in the second century AD. (Ibid.:85). Aristotle, Diodorus and Pausanias all testify in writing about such cult dreams (Ibid.:85). Apart from Malta, the incubation also played a special role in North Africa, Libya and Sardinia (Ibid.:85). To this day, similar beliefs are found among Berbers in Maghreb and among people in Ireland (Ibid.:85).

This interesting theory tells that the Sleeping Lady – a goddess or not, a sleeping woman or in a trance – possibly points to a place in the Hypogeum, where dreams or visions were interpreted by means of incubation rituals (Haughton 2009:164). Such a dark area underground would be ideal for stimulating similar states and for inducing dreams and visions (Ibid.:164).

Twelve-centimetre masterpiece

But who modelled the figurine? “No one knows if the sculptor who carved [the Sleeping Lady] was inspired by his own beloved or was simply following an established model of an idealised female form” (Magli 2009:47). Giulio Magli (2009:47) “[leans] towards the first hypothesis, because, [as he claims] the sculpture is a masterpiece, the infusion of the creative soul into [hardly twelve] centimetres of [terracotta] statuette”.

Featured image: The clay figure of a reclining lady (Sleeping Lady) was found in one of the pits of the Hypogeum in Hal Saflieni in Malta. It has traces of red ochre paint. Temple Period, 4000 – 2500 BC. National Museum of Archaeology in Malta. Photo by Jvdc (2009). CC BY-SA 3.0. Photo by Jvdc (2009). CC BY-SA 3.0. Photo and caption source: “National Museum of Archaeology, Malta” (2021). In: Wikipedia. The Free Encyclopedia.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.


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Biaggi C. (1986). “The Significance of the Nudity, Obesity and Sexuality of the Maltese Goddess Figures”. In: Archaeology and Fertility Cult in the Ancient Mediterranean: Papers Presented at the First International Conference on Archaeology of the Ancient Mediterranean, University of Malta, 2-5 September 1985. Bonanno A. ed., pp. 131-13. Amsterdam: Grüner Publishing Co.

Haughton B. (2009). Tajemne miejsca. [Haunted Spaces, Sacred Places], Ferek M. trans. Poznań: REBIS.

Krzak Z. (2007). Od matriarchatu do patriarchatu. Warszawa: Wudawnictwo TRIO.

Magli G. (2009). Mysteries and Discoveries of Archaeoastronomy: From Giza to Easter Island. Praxis Publishing. Ltd.

Pace A. (2004) Malta Insight Heritage Guides: the Hal Saflieni Hypogeum. Paola. Heritage Books & Heritage Malta.

Vicki N.  (2003) The Double Goddess. Women Sharing Power. Rochester, Vermont: Bear & Compony.