Something just didn’t look right with my first attempt at making the Nemes Crown of Ancient Egypt. I knew I didn’t quite get it right but I didn’t know why. I looked again at several Nemes Crowns from different angles. The idea of the Nemes Crown being the shape of the Great House, the Pyramid, the Pharoah, faltered and I realised that I missed a very important feature of the crown and mask – the ears. They are exposed. The crown has been designed to sit behind them, framing them – kind of like the hood of a cobra.
Was the Nemes crown supposed to be a stylized hood, a personified uraeus/cobra transforming the person of the king? Kings liked to refer to their majesty and person as a uraeus e.g., Hatshepsut on the Speos Artimedos temple. What part of their religion had I missed that personified the God-Pharoah-King as a cobra? A uraeus? or perhaps the cobra goddess Wadjet? The kings and pharaohs had many names/titles and one of them was dedicated to the Goddesses Wadjet (the cobra) and Nekhbet (the vulture). Tutankhamen seems to have been saluting both of them by wearing ornaments of both on his Nemes Crown. But would he also try to depict himself as some form of Cobra/Uraeus with his headdress being the snake’s hood? There is a wonderful Middle Egyptian text that depicts a prince as a huge snake with the trappings of a king – gold skin, lapis hair, bones of gold – The Tale of the Shipwrecked Sailor.
Having already made a Nemes crown with my interpretation of Wadjet and Nekhbet, this time around I settled for a plain and simple uraeus. I gave up on the idea of finding gold and blue striped fabric and settled for white and gold instead. This time the lappets sat behind the ears. I lined the fabric and chose a diaphanous white and gold fabric for the visible parts of the crown.
The doubled over fabric made the lappets heavier, stiffer and reduced the flapping around. A choice of a heavier fabric still doubled over would have been more effective again but would have increased the weight to the back of the crown. The balance would be lost and it would slip back again. Perhaps this thin fabric over the lightish cotton fabric would create stiffness enough?
Trying to keep the weight to the back down to a minimum I didn’t use the numb-chuck form to create the ponytail this attempt but plaited the fabric and wrapped it in cords. Regardless, the crown was pulling back even more than last time. Strapping on the beard this time didn’t give it the necessary forward pressure to anchor it. I had to use a second length of hat elastic to balance out the weight from back to front and to keep it on.
Again something wasn’t sitting well with me. Too much exposed hair. The crown had to descend lower to his ears. And the shape was wrong. The front top of it was too squarish, it needed to follow the shape of the forehead and pate more.
I knew what I did wrongly but couldn’t think of a different way. I relied too much on my own interpretation of 2D images of the crown – these flattened and made squarish what I saw. I went with an upright front again chosing corrugated cardboard to steady the uraeus and keep it in place. I wanted to be assured that my stripes were as striking and precisely placed as they are in the originals. The cardboard backing gave me this but couldn’t seamlessly, smoothly follow the pate as well. To appear more accurate I should have wired the uraeus directly onto the structural form (the plastic colander). Had I done that I fear that I would have lost the precision of the stripes when I had to cover the form.
What I needed to achieve the striking appearance of the stripes and a smoothly moulded forehead was a material with both tensile strength and malleability – like metal or papier-mâché.
It needed more weight to the front. Longer lappets perhaps that sat lower onto his chest with heavier rods? A weightier uraeus? A solid beard with a more substantial attachment to the form? A tighter fitting form? These could all help a little but I couldn’t help feeling that I was using sticky-tape solutions to a greater problem that would best be served by different structural materials. This former jeweller couldn’t get the idea out of her head that metal – gold – would be the easiest if the most economically impractical solution. Was there a better way?
Next time: Flaxen Stripes’n’Reedy Crowns, conjecturing a more malleable, organic solution.