Did you ever play blogshares? I’d definitely buy ‘Emhotep’ and ‘Heritage Key’!

Hi keith nice article hope u r right about kv64 being Nefertitis (hopefully undisturbed) tomb. Nice blog by the way hooked onto it thru kates and will now add it tomy regular list, regards DaveH

There is no evidence to support Horemheb’s wife being the sister of Nefertiti. Many authors have identified them erroneously to be the same person. Her titles are only Great King’s Wife and Chantress of Amun.The name of Horemheb’s queen always is written with the M28 sign (nDm) (Gardiner). Whereas the sign that comprises of the name of Nefertiti’s sister is the M30 (bnr). That is to say, Nefertiti’s sister is called Beneretmut (Sweet Mut) and not Mutbeneret or Mutnodjmet, although the meaning of both is almost identical. See Dodson, Martin, Sethe, Helck, Krauss or Gabolde.

Dr. Hawass shouldn’t worry too much about getting back the Nefertiti bust. As long as the bust did not suffer any weathering, it will never be proven authentic.

Remember that Borchardt said that the bust had been found face down buried half way in the ground, and the ground is a weathering agent just as effective if not more effective than attacking an object in the open.

If you read Dr. Harold J. Plenderleith’s report about the Mansoor Amarna Collection at http://www.mansooramarnacollection.com you’ll read what he says, that is: “I regard the degraded surfaces of stone as having arisen from natural burial in sharp sand. A grinding phenomenon then operates through the years as is well known and can even result in extreme cases in the loss of shape of compact bone and sometime in its entire disappearance”.

Since the bust was found with its face against the ground (FOR 3,350 YEARS), not only Nefertiti’s face would have been disfigured, but the limestone core itself would have also been greatly attacked. Did you notice the vivid colors on Nefertiti’s face?

These vivid colors have remained unchanged for the simple reason that they had been applied to the bust a few weeks or few months before an accomplice of Borchardt had placed the bust’s face against the ground. This is what exposed Borchardt’s hoax.

The Nefertiti bust had been smuggled out of Egypt, but before that, it had been smuggled into Egypt. It had to be brought into Egypt from Germany after the young sculptor Gerardt Marks had made it.

The bust is covered allover with plaster, and plaster is by far softer than limestone. The plaster covering Nefertiti’s face would have been eaten up like cheese having been against the ground for 3350 years.

Look at the difference between what happened to the surfaces of the plaster masks found in the Thutmose workshop and “the nothing” that happened to the plaster on Nefertiti’s face, and then scratch your head and ask yourself: How could that have happened?

Furthermore, the bust couldn’t have been a model prepared by the master sculptor (Thutmose) from which lesser craftsmen would fashion their likeness of Nefertiti as claimed by the late egyptologist Cyril Aldred and a few other egyptologists.

Do you honestly believe that Thutmose would have dared represent the wife of Akhenaten with only ONE EYE? Were lesser craftsmen supposed to copy the likeness of Nefertiti with one eye? Nonsense. The Nefertiti bust had been made by the gifted young German sculptor “Gerard Marks” who had accompanied Borchardt at Tel-el-Amarna in 1911-1912. The missing eye is due to the fact that the young sculptor didn’t have time to finish it in order that it may be seen by the visiting German Royalty at Tel-el-Amarna. The whole story will be posted on the site of Thoth-Scribe.

In any case, the bust didn’t have to have been covered allover with plaster since the ancient Egyptians painted sculptures in all kinds of stone. Covering the bust with plaster served 2 purposes: 1) to conceal corrections on the bust, and 2) to cover the modern unweathered surface of the limestone sculpture.

I am in the process of translating Henri Stierlin’s book titled “Le buste de Nefertiti; Une imposture de l’Egyptologie? and I have already posted the first six chapters on the website of Thoth-Scribe.

There are too many reasons as to why the bust is not authentic. Henri Stierlin has listed 16 in his book, and I have found 5 more that I have already posted on Thoth-Scribe.

Dr. Hawass shouldn’t worry about the Berlin Museum’s bust. The Cairo Museum has the Amarna sculptures that Kind Farouk had acquired from my late father M.A.Mansoor. and which had been confiscated after Farouk had been exiled.

In the King’s collection, there is the MOST beautiful Nefertiti head that ever existed. by far more beautiful than the Berlin bust. The Metropolitan Museum of Art, the Boston and Brooklyn Museums all have a picture of this Nefertiti head, but they wouldn’t show it to anybody, I don’t understand why. Maybe because they are ashamed for having turned down some pieces that had been offered to them, and they turned them down thinking that they are forgeries as Prof. Muller and Wildung have stupidly claimed.

The Mansoor Amarna collection has been examined AND AUTHENTICATED by more than 25 of the best egyptologists and scientists in the world. Their reports are all listed on the Mansoor amarna website.

The late Dr. Plenderleith, formerly Director of the British Museum Laboratory from 1924 to 1959, then Founding Director and Director of ICCROM under UNESCO from 1959 to 1971 when he retired, said that the opinion of the late Dr. Etienne Drioton, and the report of Prof. Leon Silver of the “California Institute of Technology” are more than enough in proving the authenticity of the Mansoor Amarna collection. In fact the collection has been proven to be authentic beyond “ANY and ALL reasonable doubts”.
Yet, none of these Museums are ready to admit that they have made a terrible mistake as if their scholars never make mistakes.

No works of art have ever been examined by as many scientists and egyptologists as the Mansoor amarna collection has been.

Dr. Dietrich von Bothmer, head of the Classical Greek and Roman Department of the Metropolitan Museum of Art said: “It is a crime to label an object as a forgery when it has been proven to be authentic beyond ANY and ALL reasonable doubts.

The Mansoor Amarna Collection is nothing and nothing but authentic, whether Museums like it or not.

Edgard Mansoor

In order for Gerard Marks to sculpt the Nefertiti bust he must have started with a block of limestone measuring at least 55 X 40 X 40cm which would weigh no less than 60 to 70 lbs (the Akhenaten bust in the Mansoor amarna collection is 53 cm high, and that’s more than 1/2 a meter or 21 inches high, and weighs almost 60 Lbs +, limestone being quite a heavy rock) see: http:///www.mansooramarnacollection.com

Therefore it is out of question that the sculptor Gerardt Marks could have transported or shipped a block of limestone of this size and weight from Egypt to Germany. By the same token, he most likely must have used a block of local limestone from Germany or from a neighboring country (limestone is found in all continents and practically in all countries around the world; it’s the most common rock on earth).

This is where Prof. Leon Silver comes in the picture as he can analyze the fabric of the limestone from which the Nefertiti bust is carved from and compare it with the fabric of the limestone sculptures found in the Thutmose workshop, or even the type of limestone found in Egypt. The difference will tell us if the bust may or may not be authentic.

Another thing: Did you notice how the socket of the missing eye is white; and how areas where the bust is chipped are white, especially the big patch on the bust’s left side. Whether these white spots were buried in the sand or not, they could have never remained that white. No signs or traces of weathering means not authentic.

Why didn’t Wildung allow CT scans be taken of the tall headdress and the bust (below the neck)? One would be curious to see what’s under. especially the spot of the ureaus. Anything done under Wildung’s direction or supervision must be suspected. His past actions and behavior require very close scrutiny.

Type and search on Google ” Siemens CT scanner Reveals Contents of Bust of Nefertiti”. After you click on the site, you’ll notice that there is a peg inserted in the base of the bust. This was done by the Berlin Museum’s technician BECAUSE the bust is not stable, therefore, in turn this peg is to fit in the middle of a wider stand than the base of said bust in order to hold it steady.

Now then, if the bust was not stable, how could it have been a model for other sculptors to copy the likeness of Nefertiti if it couldn’t stand up straight without falling? and would it have been easy to move such a heavy and cumbersome object from one area to another, or even from one room to another?

The Heads and masks found in the Thutmose workshop show many holes formed by air bubbles. The surface of the Nefertiti bust is so smooth that it could very well have been sprayed or painted with a sealer in order for the holes to not absorb the paint and show like pin holes on the surface of the bust.

Even for the paint to hold so well on the bust, it could have been mixed with some sort of adhesive; but even then being found against the ground, no matter how strong the pigments are, after 3350 years they would have still been decomposed or eaten up if you please, like cheese.

Good luck to the Berlin Museum. I hope they don’t exhibit it as authentic and keep on fooling the gullible public. Though it can be exhibited as a very beautiful “Art Nouveau” masterpiece by the gifted 22 years old sculptor Gerardt Marks. It would still attract thousands of individuals curious to see how such an obvious modern looking object could have fooled the world for so many decades.

Edgard Mansoor

It’s time to expose the culpable in the “Nefertit Bust Hoax”. No doubt, the first one is Borchardt. But this one may be excused on the ground that he had no courage to admit that the bust had been made to try some ancient Egyptian pigments he had found during his early excavations at Tel-el-Amarna.

The real culprit is Herr Prof.essor Doktor Dietrich Wildung, a “Specialist Physician for Ancient Egyptian Works of Art”. The Great Professor says: “ We could never be certain that the Nefertiti bust would arrive in Good Health {if sent to Egypt}”. “The bust is made of limestone covered with thick layers of plaster, and is very sensitive to vibration, shock, and any change of temperature, and is too fragile to travel, said Wildung, the physician.

{ Wildung reminds me of “Sinuhe, the Egyptian physician”, and even though the story of Sinuhe is a fiction, the story of Wildung as the private “Specialist Physician of the bust of Nefertiti”, will also become a best-seller fiction }.

That means that when Borchardt smuggled the bust out of Egypt {if it had really ever been discovered in Egypt}, after traveling all the way to Germany, it must have also been sensitive to vibration, shock, and temperature change, and arrived in Germany in bad health. Well Mr. Wildung! DID IT?

According to “ABC News”, the Nefertiti bust has already been moved to the New Berlin Museum on Sept. 4, 2009, with “THE GREATEST CARE” where it will go on public display on October 17, 2009 (that’s tomorrow).

But then, the ABC News has also raised an interesting question: “The Nefertiti bust having been moved from the “Altes Museum” to the Neues Museum”, which is just next door to the Altes Museum, why an equal amount of care couldn’t be exercised for a trip to Cairo?

Wildung could have easily sent the Nefertiti bust to Egypt, perhaps with a nurse to take good care of it, if needed be. In this case I would have suggested Sylvia Schoske, his wife; she’s an Egyptologist too, and if Wildung is a physician for ancient Egyptian works of art, there is no doubt that Schoske would make a good nurse for the Nefertiti bust.

Please remember that both Wildung and Schoske are co-authors of the “Falsche Pharaonen” article that appeared in the 1983 issue of the “Zeitung Zur Sonderausstellung” in which both husband & wife claimed the Mansoor Amarna Collection is a forgery, and especially in which article Wildung managed to substitute his name and that of his wife with the name of a respectable Geologists at the university of Munich. Shame on him!

Writer M.J. Stephey of Time Magazine says: “Don’t underestimate the natural human tendency to believe what you hear”. This is about how falsehoods spread, and why people believe them.

Take for instance the 68 years old Dietrich Wildung, recently retired Director of the Berlin Egyptian Museum: if he makes a statement and an unknown Egyptologist contradicts him, which of the two would the public believe? Wildung of course. Why Wildung? Because he told Mr. Jack Dean, moderator/owner of Thoth-Scribe, that he has lived under the same roof with Amarna Art for 16 years, and therefore he is the international best authority about Amarna art; after all, he lived among amarna art

Before Wildung became the Berlin Museum’s director, in a letter dated September 9, 1987 addressed to the Historian Henri Stierlin, Wildung said about the Nefertiti bust in his historical/stylistic analysis of the bust, that it is: 1) an ice-cold perfection, 2) a lifeless work, 3) no style of the Amarna epoch is perceptible in it, and 4) it is a fabricated work (from page 47 of Stierlin’s book of “Le buste de Nefertiti, une imposture de l’egyptologie”).

In one message (#16242) on the Thoth-Scribe website, one intelligent lady said: “It is not at all hard to fool people who want to be fooled”, and at the end of her message, she said: “ It takes a lot of mistakes to bring down someone like Wildung”. And M.J. Stephey of Time Magazine said: “Don’t underestimate the natural human tendency to believe what you hear”. That’s about how “falsehood spread”, and why people believe them.

Wildung managed to survive. He knew how to brainwash people. Real brainwashing originated in totalitarian countries like Germany and Russia through the use of torture, psychological stress techniques, drugs, and God knows what else. Wildung’s method is that of controlled systematic indoctrination based on repetition.

For more that 25 years he has been preaching that the Mansoor Amarna collection consists of forgeries, in spite of the fact that the sculptures have been authenticated by more than 25 reputable Egyptologists and scientists, and people believe him.

Would the German government ever let Egypt have the Nefertiti bust? Never. Because after the publicity that has been made about it, that it is a fake, if Egypt gets it, Dr. Hawass will have an international team of Scientists examine it and when found to be a fake He will exhibit it and put a sign in front of the bust saying: this is the Nefertiti bust that fooled the world, and Wildung knew it.

Edgard Mansoor

Since Wildung admitted openly and <> that it is his duty to <> which would give the Mansoor pieces a pseudo-legitimation, I accuse him of being “THE TERRORIST” who is behind “THE SHAMEFUL SABOTAGE” OF THE MANSOOR AMARNA COLLECTION EXHIBIT IN ROME from November 1990 through January 1991.

The story of “The Shameful Sabotage of the Mansoor Amarna Collection Rome Exhibit” had been posted on “Thoth-Scribe:Ancient Egypt Discussion Forum” as Nos. 11524 & 11526 on February 1, 2006.

Membership on Thoth_Scribe is free. This is a website where you learn .

Edgard Mansoor

Will Wildung be investigated one of these days?

> The answer is “YES”. The “World of Arts and Sciences” cannot survive in a state of “utter confusion and total lack of organization. In other words, it simply cannot survive in “A state of Chaos”.
>
> The “American Association of Museums” is in decadence. What do the officials of this “highly regarded Institution” do when they hear about the scandals happening in Museums, to mention but one, like that in the Getty Museum, in which according to the late Dr. Thomas Hoving, the amount of “endowment” in 1987 was “ABOVE THREE BILLION DOLLARS”. Money! the great temptation, Wildung’s love affair!
>
> More money is wasted in high salaries of personnel of highly regarded institutions that do nothing, ABSOLUTELY NOTHING, or at least close their eyes on what’s going on.
>
> Do you the readers know what one High Official of the “American Association of Museums” told my brother Edmond when he complained to him about what certain Egyptologists were doing to the Mansoor Amarna Collection”? LISTEN TO THIS AND START WONDERING. He told him: “WHY DON’T YOU SUE THEM”. Let me repeat that again so that you know I didn’t make a mistake. He told my brother Edmond: “WHY DON’T YOU SUE THEM”.
>
> Could he perhaps have told him this to see if we were really going to sue them and break our word that we will never sue anyone for any reason whatsoever, from any institution whether one says the collection is authentic or not?
>
> Could this also be the reason why Wildung felt free to say all kinds of stupid nonsense to influence Museums’ officials that the Mansoor collection is a fake, knowing that we will never sue him. And is this also perhaps why Jean-Jacques Fiechter repeated Wildung’s foolishness and mistakes in his book about the collection, and like Wildung confused Nefertiti with Nefertari in his own book, while Fiechter confused in his own book a portrait of Tut-Ankh-Amon with one of Akhenaten?
>
> It’s time for the world to wake up and learn about what’s going on in museums; the best Museums in the world.
>
> http://heritage-key.com/world/interview-directors-matthias-wemhoff-and-friederike-seyfried-historic-re-opening-berlin%E2%80%99s-neue#comment-5706
>
> Earlier today I have posted another message in the above link of the blog of “heritage-key”. It’s the 5th and last message after the interview of the two directors of the new Berlin Museum which is no longer under the direction of Mister Dietrich Wildung. {It’s lucky once in a while I make a mistake and call him Mister}.
>
> The 1st posting of “Why the Nefertiti bust is not and cannot be authentic”, the 2nd one about “Why the Mansoor Amarna Collection is Authentic Beyond Any And All Reasonable Doubts” and the 3rd about the “Shameful Sabotage of the Rome Exhibit of the Mansoor Amarna Collection” by Dietrich Wildung.
>
> After the 3 postings, there is a 4th small posting, then the one I posted today is the 5th and last one.
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> You don’t need to read it unless you want to learn a little more about what’s happening in the World of Arts and sciences.
>
> Regards,
> Edgard