A Cultural Biography of Egypt Leiden January 2016 Programme & Information

8/15/2019 A Cultural Biography of Egypt Leiden January 2016 Programme & Information

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A culturalbiography of Egypt:

Expert meeting,

Leiden,

January 21-22 2016

objects, style and agency

Contributions by:

Jan Assmann; Laurent Bricault; Brian Curran; Florian Ebeling; David Fontijn; Pascal Griener; Ann C. Gunter;

Anne Haslund Hansen; Jean-Marcel Humbert; Cecilia Hurley; Dimitri Laboury; Peter Mason;

Odile Nouvel-Kammerer; Guy Stroumsa and Molly Swetnam-Burland.


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A CULTURAL BIOGRAPHY OF EGYPT:

OBJECTS, STYLE AND AGENCY

Expert meeting, Leiden, January 21-22 2016

Organized by Caroline van Eck & Miguel John Versluys

This symposium aims to provide a long term and interdisciplinary perspective on Egypt taking

theories on material agency as its main point of departure. The central question this expert

meeting aims to address is why, from around 2500 BC onwards, the concept of Egypt and things

Egyptian are to be found everywhere in world history and how we can account for their enduring

agency over time. We believe Egypt to be a cultural concept but also to consist of objects that have

oriented and shaped many processes and events throughout history. It could even be argued that,

like China, Egypt is one of the strongest and most enduring of these concepts and forms around.

Still, Egypt’s agency is most often described as reception alone and then explained in terms of

Egyptomania. This symposium aims to formulate a rather different paradigm and thereby focuses

on objects, style and agency.


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T ABLE OF CONTENTS

Introduction 3

Programme 5

Summaries 7

Practical information 13

Map 17


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INTRODUCTION

This symposium aims to provide a long term and interdisciplinary perspective on Egypt

taking theories on material agency as its main point of departure. The central question this

conference aims to address is why, from around 2500 BC onwards, the concept of Egypt

and things Egyptian are to be found everywhere in world history and how we can account

for their enduring agency over time.

We believe Egypt to be a cultural concept but also to consist of objects that have oriented

and shaped many processes and events throughout history. It could even be argued that,

like China, Egypt is one of the strongest and most enduring of these concepts and forms

around. Still, Egypt’s agency is most often described as reception alone and then explained

in terms of Egyptomania. This symposium aims to formulate a rather different paradigm

and thereby focuses on objects, style and agency.

Contributions will range from the Bronze Age up to the Modern period. A lot of work has

already been done on the cultural contexts of isolated responses to Egypt. However, all

kinds of boundaries — between disciplinary specialisations (history, philosophy, religious

studies, art-history, archaeology, etc.) on the one hand and period specialisations

(prehistory, Classical studies, Egyptology, Renaissance studies, Modern history, etc.) on the

other — stand in the way of a clear view on the longue-durée, cultural-historical

development of Egypt in a Warburgian sense of the word.

Jan Assmann and Florian Ebeling are working on a project that aims to describe and

understand the mnemohistory of Egypt in its entire appearance. Their work will form our

point of departure, helping us to move beyond Egyptomania and showing that Egypt is

much more than a mere screen of projection for (Western) imagination. What our meeting

and its publication will add to their ongoing project is its focus on objects and their

material agency.

In many historical contexts Egyptian civilisation was considered to be an important

testator. But unlike Classical Antiquity which has always been seen as place of origin and

therefore being an integral part of the (Western) world, Egypt not only was the deeper past

but also, simultaneously, the Other. Egypt thus often was strange and familiar in one and

we believe that this liminal position is important for our understanding of the agency of

Egypt. Moreover, the different forms in which Egypt was reclaimed and manifested itself


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influenced each other and changed over the course of time. Focussing on objects, style and

agency to study these Wanderstrassen der Kultur (Warburg) stresses that cultural

responses to Egypt started much earlier than with Herodotos and include much more than

appropriations of social, philosophical and religious aspects alone. Cultural responses to

Egypt cannot be understood without taking into account the tangible form of Egyptian

objects, their style and materiality. In the Bronze Age Egyptian stylistic features are an

important constituent of an international koine. In the Iron Age Aegyptiaca are everywhere

in the Mediterranean and Near East as its leading global commodity, only to be challenged

by Greek forms some centuries later. Nowadays the question if something looks Egyptian

in terms of stylistic or material characteristics, for most people seems to be at the heart of a

definition if something really is Egyptian.

In this expert meeting we aim to provide, study and debate, for the very first time, a

vertical line of transmission of Egypt, from the perspective of material agency. Outlining

this vertical line of transmission makes clear that Egypt has always played an important

role in processes of cultural innovation, be it as cultural foundation or as quintessential

Other. It redirects our attention from the many historical contexts that appropriate Egypt

for one reason of another towards the cultural and material forms that constitute Egypt;

and enables us to study these two perspectives in relation to each other beyond simple

reception or Egyptomania. Focussing on human-thing entanglement will highlight the

important role objects, style and their agency play in this process.

Our hypothesis is that the reasons for vertical transmission are located primarily in the

material agency of Egyptian objects in their various historical situatedness. This forces us

to address difficult questions about the characteristics of the cultural and material forms

that constituted Egypt over time and hence Egypt’s fitness for survival. Egypt is not an

isolated case. We believe that the results of this meeting can serve as a model to study the

longue-durée material agency of, for instance, the Greek, the Chinese or the Celtic.

The symposium is divided in two parts. Part 1 will deal with the mnemohistory of Egypt in

order to try to move beyond Egyptomania. Part 2 (Objects, style and agency) will, in nine

lectures, provide us with the longue-durée from a material agency perspective. Each

speaker has been asked to put one single object central to his or her analysis and to

subsequently analyse how this Egyptian looking object influenced and shaped its historical

context. Nine objects, therefore, will constitute our colonne vertébrale and form the basis

for our discussions.


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PROGRAMME

W EDNESDAY J ANUARY 20

18.00 onwards: Welcome in Wijnbar & Restaurant Wielinga, Nieuwe Rijn 28.

19.00 Dinner

THURSDAY J ANUARY 21 (Venue: Gravensteen, Pieterskerkhof 6)

09.30-10.00 Introduction by the organisers (Miguel John Versluys and Caroline Van Eck)

10.00-10.45: Introduction to and brief tour through the (Egyptian) collections of the National

Museum of Antiquities (Pieter ter Keurs and Lara Weiss)

10.45-11.00 Short walk to the National Museum of Ethnology

11.00-12.00 Introduction to and brief tour through the collections of the National Museum of

Ethnology (Pieter ter Keurs)

12.00-13.30 Lunch

Part 1: Beyond Egyptomania

13.30-14.15 The mnemohistory of Egypt : approaches in understanding Egypt in intellectual history

(Florian Ebeling)

14.15-15.00 The fascination for Egypt during the Eighteenth Century – History of a ‘configuration’(Pascal Griener)

15.00-15.30 Response by Guy Stroumsa and discussion

15.30-16.00 Tea & coffee

Part 2: Objects, style and agency

(30 minutes for the individual lectures + 15 minutes for discussion)

16.00-16.45 “Egyptian” and “Egyptianizing”: Style and agency in the Iron Age Mediterranean (Ann C. Gunter)

16.45-17.30 L’Égypte des uns n’est pas toujours l’Égypte des autres : à propos d’une drachme de Myndos (Laurent Bricault)

18.00 onwards: Drinks and dinner in Restaurant La Diva, Noordeinde 23


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FRIDAY J ANUARY 22

(Venue: National Museum of Antiquities, Rapenburg 28, Trajanuszaal)

09.30-10.15 Aegyptiaca Romana: Appreciation, imitation, and transformation (Molly Swetnam-

Burland)

10.15-11.00 Lost in translation? On aegyptiaca in the Middle Ages (Dimitri Laboury & Marie

Lekane)

11.00-11.30 Tea & coffee

11.30-12.15 The most famous lions in Rome. The cultural biography of the lions of Nectanebo I (r.

380-362 BCE) in the Museo Gregoriano Egizio at the Vatican (Brian Curran)

12.15-13.00 Periculosae plenum opus aleae: the Mensa Isiaca, Lorenzo Pignoria and the perils of

cultural translation (Peter Mason)

13.00-14.15 Lunch

14.15-15.00 Ordering the ancient world – Egypt in Piranesi’s Cammini , 1769 (Anne HaslundHansen)

15.00-15.45 Le surtout du Service égyptien offert par Napoléon au tsar Alexandre Ier (1804-1808)

(Odile Nouvel-Kammerer)

15.45-16.30 Staging Egypt : the museography of the Egyptian collections in the Louvre during the

19th century (Cecilia Hurley)

16.30-17.00 Tea & coffee

17.00-17.30 Response by David Fontijn and discussion

17.30-18.00 Response by Jean-Marcel Humbert and discussion

18.15 onwards: Drinks and dinner in Restaurant La Diva, Noordeinde 23


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SUMMARIES

The mnemohistory of Egypt : approaches in understanding Egypt in intellectual history

Florian Ebeling

The research into the different aspects of the mnemohistory of ancient Egypt has a long

tradition on the other hand it only dates back to the 1960th in regard to understand it as a

topic on its own. Iversen, Baltrušaitis and Morenz have opened the research field with

different approaches. All these attempts are bearing problems in order to focus on the concept

on Egypt this meeting is focussing on.

After the overview of the research history I try to understand the actual research field in

discussing the different terms and their methodological implications like reception, afterlife,

mnemohistory, aegyptomania etc.. Nevertheless the established research practice seem tofollow the same guideline: the detailed analysis of the single case of reception/afterlife as part

of the longue durée or history of ideas/ forms/ material. While the first is founded in the

individual disciplinary tradition of the different approaches the latter seems to be a severe

challenge for the research practice. Is it possible to understand the different traces in

intellectual history and material culture as interwoven or intermingled to the concept or

agency of Egypt?

I want to make aware of the postulates in my own experience in intellectual history (esp.

hermeticism, freemasonry in 18th century, mnemohistory and hermeneutics) in order to

establish a constructive discussion about the long term and interdisciplinary perspective on

Egypt.

The fascination for Egypt during the Eighteenth Century – History of a ‘configuration’Pascal Griener

The obvious fascination for Egyptian patterns and forms in eighteenth-century art and art

history have been repeatedly interpreted as the symptom of a ‘manic’ attraction for Egyptianculture - an Egyptomania (cat Louvre exh. 1994 ; Curl 1982/94). Otherwise, it has been seen

proceeding from a philosophy of art, which was militating for the recognition of Ancient

Egyptian art and culture as a value in its own right. (Aegyptian-ism). Both these

interpretations might fail to pay justice to the complexity of such a phenomenon. I should like

to sketch out some dominant features of the subtle ‘configuration’ which may explain why

Egyptian art had the power to haunt the Enlightenment with great intensity. My paper will

also try to propose new ways of grasping such an « agency » and its major articulations.


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“Egyptian” and “Egyptianizing”: Style and agency in the Iron Age Mediterranean Ann C. Gunter

My point of departure is the celebrated gold bowl recovered in 1989 from the “Queens’ Tombs”

at Nimrud in northern Mesopotamia, inscribed for Yaba, consort of King Tiglath-pileser III (ca.

744-727 BCE). The bowl bears elaborate repoussé decoration consisting of boating scenes set

in a papyrus thicket, surrounding an interior circle of swimming animals, fish, and a nude

female. Experts immediately recognized striking similarities between the Yaba bowl and the

decoration on a silver bowl now in Berlin, reportedly from a cemetery on Cyprus. Additional

parallels were noted with other silver bowls from elite burial contexts in the central and

eastern Mediterranean, and with strongly Egyptianizing imagery among the ivories found at

Nimrud that are usually considered the products of Phoenician workshops.

The Yaba bowl and its connections with objects from multiple locations in the eastern

Mediterranean sphere raise multiple questions central to this conference. Emphasizing

historiographic issues, I explore the cultural/artistic labels of “Egyptian” and “Egyptianizing”;the notion of a koine style in the Late Bronze and early Iron Age Mediterranean; the agency of

artisans and objects; and the material evidence for cultural contacts between Egypt and the

Neo-Assyrian Empire.

L’Égypte des uns n’est pas toujours l’Égypte des autres : à propos d’une drachme de Myndos Laurent Bricault

My point of departure for this lecture is a drachme from the city of Myndos in Asia Minor. This

coin is part of a series that can be dated to the first part of the 2nd century BC. The drachme of

Myndos very much resembles other, contemporary Hellenistic coinage in many respects. Most

of the other cities, however, show Zeus on the obverse, while Myndos decided to display

Sarapis as part of its monetary self-fashioning. Distinctly Egyptian elements, like the Atef

crown Osiris, now come into play. Egyptian elements like the Atef crown or, to give another

example used, the basileion of Isis certainly have a (political) relation to the influence of the

Ptolemies and their Egypto-Mediterranean Empire – but there is more at stake. Because why

would the Ptolemies use or relate themselves to Egyptian symbols and motives in order to

present themselves on the Mediterranean stage?

Through the Myndos drachme, therefore, I will be able to explore Egypt’s agency in the

Hellenistic period more in general. The Hellenistic period is also called the Hellenistic period

because “things Greek” rise to prominence above all other cultural forms, like Egyptian. But

still Egypt’s agency remains prominent. The ultimate test case for such an exploration is the

“invention” of the god Sarapis and the “transformation” of the Egyptian Isis to the Hellenistic

Isis. In both cases their Egyptian character was, so it seems, hidden or at least fundamentally

redefined in contemporary, Hellenistic terms. Still, in both cases it seems to have been the

Egyptian character of the deities, or, in other words, Egypt’s agenc y, that accounts for their

(later) success.


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Aegyptiaca Romana: Appreciation, imitation, and transformation

Molly Swetnam-Burland

In 1903, the remains of a villa believed to have belonged to Augustus’ grandson were discovered

near Boscotrecase. Several rooms were sumptuously decorated with so-called Third-Style murals

that included myth paintings, birds-eye landscapes, and representations of attenuated

architectural forms. Particularly notable were scenes executed in combined perspective with a

vibrant palette that depicted Egyptian deities, animals, and fanciful hybrid creatures. I will use

these frescos as the focal point of my discussion of how Roman period artworks reflecting interest

in Egypt did far more than imitate Egyptian style, but transformed it to convey new meaning.

Roman fascination with Egypt is well known, attested by literary sources characterizing the

culture of Egypt as “upside-down”, and by artworks across all media that depict the place and its

people. Objects like the Boscotrecase frescos are doubly interesting because they adopt a fictive

Egyptian style. These striking frescos have attracted the attention of museum-goers and scholars

alike, who often focus on them as the most meaningful elements of the room’s décor, arguing that

they celebrate Augustus’ victories over Cleopatra.

Other contemporary materials associated with elite contexts, such as ornate obsidian cups

found in a villa at Stabiae and early imperial cameo-glass vessels, appear to affirm that interest in

the arts of Egypt was widespread and linked to conquest. I will suggest, in contrast, that we learn

more about these objects and artifacts by focusing on their material and manner of production. All

of these examples were produced in Italy or for the Roman market. The wall-paintings were

executed on site by itinerant regional workshops of artists; cameo glass was produced by

specialized ateliers working near Rome and Campania; the form of the obsidian cups suggests that

they were made specially for Roman consumption. Through imitating specific motifs and styles,

these works transform their subject matter. Drawing on Egyptian religious and funeraryiconography, Italian artists created wares that were intended to amuse, delight, and display

wealth. The artists did not alway s get the Egyptian iconography “right”, but in adapting it to new

forms and materials, they displayed their virtuosity. The subject matter showed their patrons to be

erudite, cosmopolitan, and aware of recent trends. The appeal of Egyptian imagery, in other

words, encompassed the political, but also stretched beyond it – a product and symbol of the

increasingly global Roman world.

In addition to considering these issues of production, taking a new look at the Boscotrecase

frescos also requires better understanding the social and spatial function of the room in which

they appeared. Their current arrangement in the Metropolitan Museum of New York gives the

impression that the room was nearly completely preserved – yet in fact the frescos arefragmentary and disjointed. The villa was excavated in a brief period between its discovery and

the eruption of Vesuvius in 1906, which destroyed the site. The landowner, Cavaliere Ernesto

Santini, oversaw the work and made his own records of the finds. Much remains unknown. It

appears that the best quality frescos were removed from the walls immediately, making

reconstruction of the full mural scheme hypothetical. Though the site is most famous today for its

association with the imperial family, the finds and graffiti chiefly reveal a villa devoted to

agricultural production. This context renders the political meaning of the frescos at best partial,

overlooking their function and setting. This essay attempts to rebalance our view of these famous

“Egyptian” frescos by focusing attention on their material production and local reception.


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Lost in translation? On aegyptiaca in the Middle Ages

Dimitri Laboury & Marie Lekane

As Charles Burnett put it in the incipit of a seminal article on the “Images of Ancient Egypt in

the Latin Middle Ages” (2003), “It is commonly thought that the Latin Middle Ages was abarren period for knowledge of and interest in Egypt – between the enthusiasms of the late

hellenistic Neoplatonists and the rediscovery of Horapollo and the Corpus Hermeticum in the

15th century.” In this sense, and from the vantage point of this conference aiming at “A Cultural

Biography of Ancient Egypt” (outside Egypt), the medieval era can be considered as a middle

age or period, between classical Antiquity and the Renaissance. The paper will attempt to

characterise what really changed in this perspective with the end of Antiquity and the collapse

of the Roman Empire in the western figurative uses of and references to Ancient Egypt,

addressing the multiplication and diversification of discourses about this bygone civilization,

as well as the issue of the loss of the Egyptian style. It will then focus on the exceptional case of

some Egyptian-looking sphinxes produced in Rome in the 13th century AD, in order to try

clarifying their meaning and agency.

The Most Famous Lions in Rome: The cultural biography of the Lions of Nectanebo I (r. 380-

362 BCE), in Museo Gregoriano Egizio at the Vatican

Brian Curran

In this paper, I examine the cultural biography of a pair of ancient Egyptian sculptures whose

once-celebrated public presence in Rome has been largely forgotten. This pair of Egyptian

lions were originally were originally installed in a temple in the Nile Delta by the 30th-

Dynasty pharaoh Nectanebo I, and were brought to Rome during the Imperial period to adorn

the great Temple of Isis (Iseum Campense) in Rome. Sometime before the end of the twelfth

century, they were moved to the nearby Piazza della Rotonda, where they were installed

facing the great porch of the Pantheon. During the 13th-century, they provided models for a

series of “Cosmatesque” lions sculptures. They were restored several times during the fifteenth

and sixteenth centuries and by about 1490 (if not earlier), had been recognized as Egyptian

imports by humanists interested in the hieroglyphic inscriptions on their bases. In the 1580s,

they were removed from their prestigious location in the center of the old city by Pope Sixtus

V who installed them as waterspouts on his monumental new fountain on the Quirinal hill,

where they continued to attract attention from pilgrims, artists, and scholars who praised

them as masterpieces of Egyptian art. In 1835, they were removed to the new Egyptian

museum at the Vatican, where they slowly faded into obscurity. Their story ends in our time,

when the lions returned to greet the life-giving rays of the sun in the upper courtyard of the

Vatican Belvedere.


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Periculosae plenum opus aleae: the Mensa Isiaca , Lorenzo Pignoria and the perils of

cultural translation

Peter Mason

After a brief account of the collection history of the artefact known as the Mensa Isiaca, fromits discovery in the first decades of the 16th century to its admission to the Museo Egizio in

Torino, this contribution continues with an examination of Lorenzo Pignoria’s interpretation

of that material object and of the uses to which he put that analysis. Firmly rooted at the

micro-level in his own collection of artefacts and in those of his friends as his writings were –

it is clear that his interest lay in the study of material objects rather than in the pursuit of

abstract and abstruse theories – at the macro-level they bear witness to a comparative

endeavour that spans millennia and continents: ancient Egypt compared with the recently

discovered cultures of América.

Ordering the ancient world – Egypt in Piranesi’s Cammini , 1769 Anne Haslund Hansen

In the 18th century, ancient Egyptian artefacts found their way into illustrated catalogues

where they were published alongside Greek and Roman antiquities. By means of images, these

catalogues presented a set narrative of the ancient cultures. These catalogues served as a

repository of knowledge, while at the same they reflected some of the more general views on

Egypt and the Classical cultures, which were prevalent at the time. They also served aninspiration for contemporary artists, one of which was Giovanni Battista Piranesi (1720-1778)

in his Cammini , designs for chimneypieces, from 1769. For 18th century scholars and artists

alike, the ability to distinguish between the different cultures was considered important, yet in

practice this often proved difficult. One culture was however easy to pinpoint, namely that of

Egypt. To quote Piranesi in Cammini : It is not easy to assign the distinctive character of each [of

the Classical cultures] as clearly as the Egyptian architecture is distinguished from all the rest. I

will discuss the various narratives present in Piranesi’s interesting and programmatic text and

I will seek to demonstrate how Egypt was used as a tool in the argumentation and how the

Egyptian artefacts were presented and functioned in this particular volume.

Le surtout du Service égyptien offert par Napoléon au tsar Alexandre Ier (1804-1808)

Odile Nouvel

Vers 1803 Bonaparte demande à Vivant Denon de faire fabriquer par la manufacture de Sèvres

un nouveau service de porcelaine célébrant "la gloire nationale". Denon suggère alors à

Alexandre Brongniart, directeur de la manufacture, de concevoir un Service égyptien avec

surtout. Les travaux commencent vers 1804 et s'achèvent en 1808, après près de cinq ans d'untravail particulièrement périlleux et innovant, notamment pour la réalisation du surtout. En


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même temps, Brongniart lance la fabrication du Service olympique, inspiré de l'antiquité

romaine. Après avoir envisagé de garder ces deux services exceptionnels pour son usage

personnel, Napoléon décide de les offrir tous deux ensemble à Alexandre Ier de Russie.

La décision de Napoléon de faire ce cadeau très inhabituel, apparemment redondant, n'est

pas fortuite et confirme la gémellité des deux services qui articulent la confrontation et lacomplémentarité de deux mondes - l'Egypte et Rome. Le surtout égyptien y exerce une aura

qui ne se limite pas à la trace mémorielle d'un voyage, fut-il initiatique et scientifique, mais

manifeste sa profonde singularité: son origine dans la campagne d'Egypte, la présence

d'architectures complexes, la dialectique avec le service de 72 assiettes, la surenchère des

prouesses techniques, les illustres destinataires des deux versions qui ont été réalisées, et

jusqu'à la création des Ruines d'Egypte par Anne et Patrick Poirier en 1978.

Si les deux services forment un "Tout" cohérent, leur usage lors des repas d'apparat reste

séparé et fait l'objet d'un choix forcément réfléchi selon les circonstances dictées par

l'étiquette. Plus qu'aucun autre, chacun des surtouts installe au centre insulaire de la table un

discours idéologique et chaque convive, qui sait n'avoir sous les yeux qu'une des deux origines

du monde, est invité à évoluer du regard curieux du spectateur à la méditation de l'initié.

Staging Egypt : the museography of the Egyptian collections in the Louvre during the

19th century

Cecilia Hurley

When advocating the purchase of the second Salt Collection, Champollion declared that the

Louvre should not be ambitioning an “Egyptian display” but a “museum of Egyptian objects”.

This paper will examine the museography of the Egyptian collections in the Louvre,

concentrating on this apparent tension between ‘display’ and ‘museum’. How can the material

remains of a civilization be presented? The alternatives proposed in the Universal Exhibitions,

notably the 1867 Exposition Universelle, will be cited, in an attempt to understand how the

material agency of the object can be enhanced by its staging.


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PRACTICAL INFORMATION

HOTEL DE DOELEN

Hotel De Doelen is located in a historic building, with a long history.

Uniquely situated at the Rapenburg, one of the most beautiful canals of Netherlands, the hotel

is located in a rustic Patrician House, built in 1638. The hotel is located in close vicinity of the

Academic heart of Leiden, at a ca. 7 min walk from the central train station.

Route from the train station:

When leaving the station onto the Stationsplein (main station square), please follow the

Stationsweg, straight ahead (this same street is later named Steensstraat). When you reach the

Beestenmarkt (town market square), turn left onto the Blauwpoortsbrug (bridge).Immediately turn right onto the main street name Turfmarkt (this same street is later named

Prinsessekade), and continue all the way ahead until you reach Kort Rapenburg and then

Rapenburg. Hotel De Doelen is the second building on the left side (i.e., on the left side of the

canal that separates Rapenburg).

Hotel de Doelen

Rapenburg 2

2311 EV Leiden

+31-71-5120527

+31-71-5128453

[email protected]

HOTEL IBIS

Hotel Ibis is a 3-star business hotel right opposite the central train station of Leiden, combining

comfort and accessibility.

Stationsplein 240-242

2312 AR – LEIDEN

Tel : (+31)71/5160000


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MAP TO HOTELS:

ROUTE TO CONFERENCE VENUES

Both conference venues are located very close to Hotel de Doelen.

The first venue, Gravensteen, is located at Pieterskerkhof 6, at 2-3 min walking distance from

Hotel de Doelen (see map).

The second venue, the Antiquities Museum, is located at the same side of Rapenburg as Hotel

de Doelen, at less than 1 min walking distance (see map).


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MAP TO VENUES:

ROUTE TO DINNER VENUES

The welcome dinner (20 Jan) will take place at Wijnbar & Restaurant Wielinga, Nieuwe Rijn 28 ,

and both conference dinners (21 and 22) will be at Restaurant La Diva, Noordeinde 23. Both

venues are at easy walking distance from Hotel de Doelen and Rapenburg.

On 20 January, one of the organisers/Leiden staff will be in the lobby of Hotel de Doelen at

18.00 and from there lead the way to restaurant Wielinga. And on 21 and 22 January we will set

out together to restaurant La Diva from the conference venue, for those that wish to join.


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TRAVEL FROM SHIPHOL AIRPORT TO LEIDEN

Schiphol Airport is only a 15-20 min train ride away from Leiden central station.

Schiphol station is situated directly below the airport. You can pick up a free baggage trolley

from the platform. Via Schiphol Plaza, you can walk straight to the departure or arrival hall.

You can travel on NS (the Dutch Railways) with either a single-use chipcard or an OV-

chipkaart. Both are available from the yellow ticket machines with the blue overhead sign

reading ‘traintickets’. OV -chipkaart cardholders can also use the ticket machines with the

yellow overhead sign.

The ticket machines are located near the platforms at Schiphol Plaza. Tickets (for domestic

and international travel) are also available from the Ticket- and Service desks, which are

situated close to the red/white-checked cube at Schiphol Plaza. Staff at the desk will also be

able to provide you with train departure information and general information on travelling by

train in Holland.

You travel by checking in and out at the train station before and after your journey.

Trains to Leiden by rule depart from platforms 5 or 6 at Schiphol station, but please check

daily departures and possible platform changes.


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A Cultural Biography of Egypt Leiden January 2016 Programme & Information

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Transcript of A Cultural Biography of Egypt Leiden January 2016 Programme & Information