ACKNOWLEDGMENTS

Over the long period of development of this exhibition and its accompanying catalogue, we have accrued considerable debts to many colleagues and friends. The following acknowledgments make amply clear how much cooperation we requested and received. In that respect, our first thanks go to Philippe de Montebello, Director of The Metropolitan Museum of Art, who gave his consent to the project because of its promise to advance the study of ancient art, and despite the fact that its realization was sure to prove difficult and time-consuming.

In Greece, we received much valued assistance from the Hellenic Ministry of Culture, Athens, as noted in the foreword to this volume. Here we would like to underscore and express our appreciation for the special interest and involvement of Nikolaos Kaltsas, Director of the National Archaeological Museum, Athens, who made possible loans of remarkable works from the museum's renowned collection of Egyptian art. We would also like to acknowledge the help of our other colleagues in the National Archaeological Museum: Eleni Papazoglou, Curator in Charge of the Prehistoric, Anatolian, and Egyptian collections, who adroitly overcame every seeming obstacle, and Eleni Tourna, Curator of the Egyptian collection, who has been a most welcoming colleague for many years and who sought out crucial new information about several important statues. We would also like to thank Maria Viglaki-Sofianou, Archaeologist in Charge of the Vathy Museum, Samos, who made the important objects in that collection available for photography.

In Egypt, the friendship of Zahi Hawass, Secretary General of the Supreme Council of Antiquities, to this Museum and to Egyptian art studies in general cannot be sufficiently acknowledged. Likewise, the careful attention of Wafaa El-Saddik, Director of the Egyptian Museum, Cairo, guaranteed that arrangements proceeded smoothly. Their willingness to make available unique objects from the unsurpassed resources of the Egyptian Museum proved invaluable in helping us to illuminate otherwise undocumented aspects of metal statuary.

We would like to extend our profound appreciation to the museums that loaned works of art to the exhibition. All of these institutions hold pieces that are landmarks for the study of metal statuary, and at many of them seminal studies of metal statuary have been produced or are currently underway. This significant aspect of the project will find its best acknowledgment in a thorough perusal of the catalogue or in the scholarly events planned in conjunction with the exhibition. Here we would like to recognize the direct and generous assistance of our many valued colleagues in obtaining loans, studying objects, and pursuing technical examinations. In Europe; Department of Antiquities, Nicosia, Cyprus: Pavlos Flourentzos and Despina Pilides; Ny Carlsberg Glyptotek, Copenhagen: Mogens Jorgensen and Rebecca Hast; Agyptisches Museum und Papyrussammlung, Staatliche Museen zu Berlin: Dietrich Wildung, Olivia Zorn, Frank Marohn, and, at the Rathgen-Forschungslabor, Josef Riederer, who provided us with unpublished analyses; Roemer - und Pelizaeus-Museum, Hildesheim: Katja Fembke and Bettina Schmitz; Rijksmuseum van Oudheden, Leiden, Netherlands: Wim Weijland and Maarten Raven; Museu Calouste Gulbenkian, Lisbon: Joao Castel-Branco Pereira, Maria Rosa Figueiredo, and Rui Xavier; Musee du Louvre, Paris: Henri Loyrette, Christiane Ziegler (former head of the Department of Egyptian Antiquities), and Elisabeth Delange, who pursued innumerable points of art-historical, archival, and technical interest that have greatly enriched the exhibition; British Museum, London; Neil MacGregor, W. V. Davies, John H. Taylor, Claire Messenger, and Paul Craddock (formerly in the Department of Conservation, Documentation and Science). In the United States: The Walters Art Museum, Baltimore: Gary Vikan, Regine Schulz, Terry Drayman-Weisser, and Jennifer Giaccai; Brooklyn Museum: Arnold Lehman, Richard Fazzini (former Chairman of the Department of Egyptian, Classical, and Ancient Middle Eastern Art), Edna R. Russmann, Madeleine Cody, Ellen Pearlstein (formerly in the Department of Conservation), Lisa Bruno, and Tina March; University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia: David Silverman and Jennifer Wegner. Special note should be made of the continuing generosity of Dietrich Wildung, Director of the Agyptisches Museum, who has on many occasions facilitated the editors' studies and examinations of the objects borrowed for this exhibition. We would also like to thank Joao Castel-Branco Pereira and Maria Rosa Figueiredo at the Museu Calouste Gulbenkian for their willingness to loan their important statue as a mark of friendship to this institution and for their support of our thorough study of that work.

Professor Harry Smith and Sue Davies of Cambridge, England, have for many years shared information with the editors of this volume about the Egypt Exploration Society's excavations at the Saqqara Sacred Animal Necropolis, and Sue Davies has written a most welcome contribution to the catalogue. Patricia Spencer, Secretary General of the Society, assisted with permissions, and Caroline Middleton helped to obtain plans. More recently, contact with Michel Wuttmann, Laurent Coulon, and Florence Gombert of

Acknowledgments • XI

The Institut Frangais d'Archeologie Orientate, Cairo, has been most fruitful and resulted in their valuable contribution, for which Nadine Cherpion helped to obtain photographs.

Professor Herman De Meulenaere, Director of the Association Egyp-tologique Reine Elisabeth, Brussels, provided inscriptional insights that have been incorporated in the catalogue. Barbara Mendoza sent us an early copy of her dissertation on bronze priests. Hermann Kienast, former Director of the Deutsches Archaologisches Institut, Athens, gave strategic advice, and Sylvia Diebner, of the Deutsches Archaologisches Institut, Rome, helped to identify photographs there. Our former colleague James P. Allen, now of Brown University, provided every kind of linguistic assistance—readings, spelling guidance (although any remaining errors are our own), computer hieroglyphic drawings—in addition to our many discussions over the years. We also benefited from the photographic skills of Biri Fay in Cairo. Mortimer Lebigre, of mortimeralex. com, created a digital photomontage of Takushit that made possible a register-by-register and magnified study of the statue's figural decoration and inscriptions. Julia Jarrett drew the facsimile of the inscription on catalogue number 32. Will Schenck provided the original drawings of catalogue numbers 21 and 57, which have been reused here.

We are, of course, indebted to many of our colleagues at The Metropolitan Museum of Art for their invaluable help during the gestation of the exhibition. Mahrukh Tarapor, Director for International Affairs in the Museum's Geneva office and Associate Director for Exhibitions, sustained the project with her own commitment; without her will and efforts, the exhibition could not have been realized in its present form. Martha Deese, Senior Administrator for Exhibitions and International Affairs, was also always helpful. Herb Moskowitz in the Registrar's office and Linda Sylling, Manager of Special Exhibitions, Installations, and Design, closely followed and guided the development of the exhibition. Dan Kershaw created the handsome design for the exhibition in New York and extended it, with adaptations, to Martigny. The intimate color photographs of works of art in the Museum's collection were made by Oi-Cheong Lee of The Photograph Studio. In the Editorial Department, we are grateful to John O'Neill, Publisher and Editor in Chief, for his support and advice. Dale Tucker, our editor, shaped this elegant catalogue along with Paula Torres, who managed its production, and Tony Drobinski, who created its responsive and appealing design. The bibliography was edited by Philomena Mariani. Alexandra Kotsaki, Conservator in the National Archaeological Museum, Athens, translated the entries of Eleni Tourna. The Watson Library and its staff have been a wonderful resource, helping to obtain many publications and articles needed for our work, and Wojtek Batycki in Information Systems and Technology made special arrangements to facilitate work on the catalogue.

Finally, many colleagues in our respective departments must be acknowledged and thanked. Dorothea Arnold, Lila Acheson Wallace Chairman, Department of Egyptian Art, fostered this project in every imaginable way and committed a good deal of her personal energies to its fruition. She and other members of the department have assisted us not only through the example of their own work but in discussions, obtaining books, and moving objects; we thank Susan Allen, Dieter Arnold, William Barrette, Miriam Blieka, Don Fortenberry, Dennis Kelly, Adela Oppenheim, Diana Craig Patch, Catharine Roehrig, Isidore Salerno, Isabel Stuenkel, and Victoria Southwell. In the Sherman Fairchild Center for Objects Conservation, thanks are due to Lawrence Becker, Conservator-in-Charge, Ann Heywood, and Richard E. Stone; in the Department of Scientific Research, we are grateful to James FI. Frantz for initiating the technical study of Egyptian metalwork in the Metropolitan Museum and for his continuing contributions, and to Mark T. Wypyski for carrying out SEM/EDS analyses of statuary in the Metropolitan's collection and in many other collections crucial to our understanding of this material.

Marsha Hill Curator

Dqyartrnent of Egyptian Art

Deborah Schorsch Conservator

Sherman Fairchild Center for Objects Conservation

Acknoivledginenls • XIII