Palette of Narmer and unified upper and lower Egypt:
Palette of Narmer is one of the oldest and most important testimonies of the Ancient Egyptian Predynastic Period. It is actually a cosmetic palette, i.e. a stone slab with a central cavity in which pigments were mixed for personal make-up. however, the palettes acquired a purely commemorative function and were made of precious materials. The Palette of Narmer is made of schist, almost triangular in shape, 64 x 42 cm, and is dated to around 3000 BC. It was found in 1898 among the relics of the temple of Horus in Hierakonpolis, near Edfu, and is now kept in the Egyptian Museum in Cairo.
Narmer, also identified as Menes, is the first king registered on the Royal List of Abydos, which contains the names of almost all the pharaohs who ruled in the Nile Valley. He is considered the founder of the First Dynasty and one of the main initiators of the organization of the Egyptian state. The iconographic analysis of this palette reveals the purpose of glorifying the figure of Narmer and allows us to understand the political significance of his reign. The work is engraved with reliefs on both sides and documents the struggle to unify the north and south of the country.
The image on the left corresponds to the back of the palette, which is divided into three floors. On the upper one, the name of the king is written with symbols, inside a box supported by two cow heads representing the Hathor goddess. The heads have human features, which is one of the most ancient figurations of a deity with these characteristics. In the central register, a large Narmer appears, dressed in the typical attributes of the Egyptian sovereign: the white crown of Upper Egypt, a false beard and a short skirt with an oxtail. With his right hand, he raises a mace to massacre a defeated enemy, whom he holds by the hair with his left hand. This representation alludes to the king’s conquest of the north of the country and inaugurates an iconography that will become very common in Egyptian art to demonstrate the military power of the pharaohs. Narmer is accompanied by a secondary character identified as his “sandal-bearer” or personal butler. He is probably a priest, as indicated by his shaved head and the libation jar he holds in his right hand.
On the other side is the Egyptian god Horus personified as a hawk. He is perched on six papyrus stalks that refer to the Nile Delta (Lower Egypt), and subdues an enemy by grabbing him with a hook through his nose; this iconography symbolizes how the Egyptian god Horus takes over the breathing or life of those who oppose him. The inclusion of Horus is related to the belief that the pharaoh was actually an incarnation of the god on earth, and that his actions were guided by heavenly powers. Moreover, the names of Horus and Narmer were written with similar symbols. The figure is, therefore, a reflection of the conquering pharaoh who subdued the Delta region and managed to unify the entire Nile Valley for the first time, imposing order on the chaos. Finally, on the ground floor, two frightened enemies can be seen fleeing from the wrath of Narmer.
The other side of the palette has four scenes. The upper one is similar to the one on the back, with an inscription between two cow heads. On the next floor, Narmer appears wearing the red crown of Lower Egypt and other attributes that demonstrate his authority, such as the mace. Again it is supported by the sandal-bearer, who in this case carries a vessel for purification. In front of the king, there is his vizier and four standard-bearers that allude to various nomos or prefectures of the country. On the right are ten ritually decapitated bodies, with their heads placed between their legs, alluding to Narmer’s victory over his adversaries. Above them is again a falcon and a symbolic boat, probably used for the pilgrimage to the sacred cities of the Western Delta.
The third floor is completely occupied by two fantastic quadrupeds with long intertwined necks, which two servants strive to grasp firmly with ropes. This is surely an allegory of the unification and peace achieved between the North and South of Egypt through the rule of the Pharaoh. Finally, the base of the entire composition shows Narmer personified as a powerful bull capable of tearing down the walls of a fortress while one of his enemies lies beneath his feet. According to historians, this scene must represent the so-called “white victory”, the last phase of the war for the unification of Egypt.
