Mysteries of Egypt | Episode 1: Akhenaton - The Heretic King | FD Ancient History

Let me introduce to you a pharaoh who's different from all the other pharaohs. This pharaoh actually is the first one who believed in the world of one god. But the whole family and the whole period is like a mystery, it's like a play. Let me take you to see how can we end this play, eknaton, the heritage king. You rise with beauty in the horizon of the sky, oh living atom, creator of life. When you rise in the eastern horizon you fill every land with your beauty. You are beautiful, great, gleaming, high above every land. Your rays, they embrace the lands to the limits of all that you have made. You are the sun god, Ra, and conquer them all. You subdue them for your beloved sun. You are distant, yet your rays are upon the land. Aton, the sun disk, the god that for a short time in the history of ancient Egypt replaced Amun-Ra and all the other traditional gods. Akhenaten, the priest of Aton, the only person allowed to worship him, one of the most controversial figures of Egyptian history. The heretic pharaoh who excommunicated the entire Theban priesthood and moved the capital to the heart of the country. The pharaoh who married the most beautiful woman of ancient times, Nefertiti. His life and that of his family, the lost dynasty of Amarna, are shrouded in mystery. Upon Akhenaten's death, his name was removed from monuments, cartouches and statues and his city dismantled stone by stone. His mummy was removed from the royal tomb and taken far from the new capital. But where to and why? This is one of the mysterious tomb in the Fall of the Kings, KV 55. Kings Valley number 55. Actually, it is very strange. No one really can tell you the story of this tomb. Why this tomb was built? What has been found in this tomb? It's like a mysterious film. Something that you hear about but you never know the real story. But I will tell you what's happened. This tomb actually no inscriptions. When you enter in this tomb, it has 22 stairs. And now you see the chamber. No scenes, no inscription, as if it was cut especially for something. And I will tell you about this something. First of all, when this tomb was found in 1907 by Davis, he found many strange things scattered in this place. Theodore Davis found panels of gold-plated wood on the floor of the tomb. Others leaned abandoned against a wall. One showed a very damaged portrait of Akhenaten adoring the sun disk and bore the name of Queen Tee. And in a corner, four canopic jars were found containing the organs of a mummy. All these objects actually tell us something about Amarna. But why all this scattered here? But between them, a very important coffin was found. It's a beautiful coffin. And this coffin was moved to Cairo Museum. A splendid sarcophagus decorated with thousands of pieces of gold paste and semi-precious stones. A multicolored inlay in the shape of a bird's wings unfolded, granting protection. The funerary mask had been partially removed, and the cartouche that should have borne the pharaoh's name had been entirely obliterated. But this coffin, inside it, found a skeleton. A mysterious one. That some people actually believe that this skeleton was first, they said, for Queen Tee. But after that, they studied, and they found out that, actually, no, it's not for a woman. It's for a man. And they thought this could be for Akhenaten. So whose was the sarcophagus with the cancelled cartouche? Why is the figure of Akhenaten surrounded by such mystery? And why would someone have moved his mummy away from the original place of burial? Who really was the heretic king? Akhenaten is a very important figure in the history of mankind. He was not just an Egyptian pharaoh or a king. He was a prophet. He was a philosopher. He has changed many things at his time. For example, he's the first one, and I think the first in history, maybe the only in history, to create a revolution against his own regime, his own system. I really believe that Akhenaten is the one that should be remembered. Because when he became a king, in his time, he announced the idea of the one god. The worship of one god known in ancient Egypt before. But Akhenaten made it clear. The power behind the sun is called Atum, and this is one god. The second son of Amenhotep III and the powerful Queen Tiye, Akhenaten took the throne under the name of Amenhotep IV, meaning God Amun is satisfied. Amun-Ra, the Theban sun god, was extremely important during the New Kingdom, the golden age of ancient Egypt, and particularly with the 18th dynasty. The priests of Amun became an extremely important caste, with their power greater even than that of the pharaoh. When Akhenaten came to the throne, Amun-Ra was the most powerful and the wealthiest of the Egyptian gods. He was the king of the state pantheon. He was the king of the gods, and his wealth and importance is reflected in the great monuments that were built for him, for example at his cult center here at Thebes, at Karnak, and here at Luxor. Whilst at the start of his reign in around 1350 BC, Amenhotep IV still respected and showed devotion to the gods of Egyptian tradition, in around the fifth year of his reign, the pharaoh openly went against the Theban priesthood. He just worked against the priests of the other gods, especially the king of the gods, Amun-Ra, and the priests were very, very important and very powerful at that time, and he worked against them and refused to have them beside him. This was the start of his heresy. The pharaoh replaced the cult of Amun and the other gods with the cult of a single god, Aton, the sun disc, and he changed his name to Akhenaten, the creative promulgation of Aton. Akhenaten believed in the one god, which is the god behind the solar disc, or behind the solar power, and he just lived, he wanted to live in peace. We have wonderful hymns from his time, we can read what he is, how he worshipped his god, and the texts are very unusual, because for the first time he is talking about the god who created all nations. O soul god, like whom there is no other, thou didst create the world according to thy desire, whilst thou wert alone, all men, cattle and wild beasts, whatever is on earth and what is on high. Here in the Sun Court at Luxor Temple, we can see tangible evidence of a fascinating period of Egyptian history, Akhenaten's Atenist heresy. At the top of the column, diagonally behind me, we can see a cartouche that contains one of the five names of Amunhotep III, Akhenaten's father and predecessor. You can see in this cartouche, which reads, Nebmatre, beloved of Amunre, that the hieroglyphs for Amun, a relief, a game board, and a ripple of water, have been deliberately hacked away on the orders of Akhenaten himself. Akhenaten rejected the system that had been in place for hundreds of years, and attempted to eliminate the cult of the god Amun, and with it the entire caste of the Theban priests. The heretic king was the supreme priest of the new god, the Sundisk. He alone had the privilege of knowing him and worshipping him. His love for his god was without bounds, just as was his love for his wife, the great royal bride Nefertiti, whose name meant, the beauty has arrived. O woman of happiness, fair of face, gay with two plumes, gifted with all virtues, whose voice inspires happiness, lady full of grace, great of love, whose sentiments bring happiness to the lord of the two lands. She married to Akhenaten. She was his favorite wife. She stood beside him. She bore six daughters of him, and you can see her in all the scenes. You can see for the first time how she's standing beside him. She's receiving the life from Aten, that Aten is giving it and returning it to the people. Nefertiti descended from an important family from Akhmen in Upper Egypt. She was almost certainly the daughter of Ai, the head of the royal stables, who became the great vizier during the reign of Tutankhamun, and in turn sovereign upon the death of the young king. Nefertiti played an important part in political life, so much so as to always be portrayed together with her husband in official ceremonies, even in military settings. Nefertiti had the same position, and she was actually the one who was ruling. Akhenaten devoted himself for his religion, and the actual ruler was Nefertiti. But whilst Nefertiti could address the god directly with offers, only the king could know him personally. Akhenaten was an idealist, a visionary, even to the extent of abandoning the city of Thebes to found a new capital, a whole place devoted to the sun disk. His choice fell to the place today known as Tell el-Amanah. He changed the capital, established the first designed capital in the ancient world, and he has chosen a place exactly in the middle between Luxor or Thebes and Memphis, the old capital and the classical capital Thebes. In his fourth year of reign, Akhenaten came to this place that shall be the horizon city of Aten. And all came and kissed the ground, as his majesty declared. Aten has ordered me to build this city as an eternal monument to his glory. None other than he himself has led me to the place where I will erect the horizon of Aten on the land that belongs to me. I'm walking through the ruins of the North Palace, which is a part of Akhenaten's city. We use the word city, but it's not part of Akhenaten's own language. The way that Akhenaten speaks about the place, it is an area, a piece of territory, but very carefully marked out and called Akhenaten, the horizon of the disk. Why build a city in such a remote location? What led the pharaoh to choose that desert plain? But in his words, it's the Aten itself which chooses this place. It is part of, an essential part of his vision to provide properly for the Aten that it has its own special place that has never before belonged to another god, a king, a person. And it's the Aten that chooses and presumably brings him here. And any other calculations that he had in mind are entirely modern speculations. To the east of the Nile, O Aten, my father, in the place you have chosen, will I build your capital. All human peoples will come here to adore you. And here will I build a temple in the sun's shadow, where my wife Nefertiti will come and adore you. An important criterion is that the ground had not belonged to anyone. And that automatically means it has to be a piece of desert. He was attracted to the eastern side of the Nile Valley as the place of sunrise. And he was probably influenced by topography, which had sharply delineated valleys on the east side where the sun could rise and so mimic the hieroglyph for horizon, which shows two hills and a valley and the sun appearing between them, above the valley. And here at Amarna, those criteria are met. It's a clean desert site, no habitation before. It's on the east. And there's a very neat valley entrance on the east side where for a short time in the year, the sun does actually rise at a time which would be equivalent to the spring equinox in his time. The city took just a few years to build. Akhenaten was in a rush to see his dream come true and used all his resources. The stone parts of the city were built in a new way. One element of that was, first of all, to lay out where the building is going to go. A great sheet of brilliant white gypsum, which is mixed with stone chippings to make it really firm. And it's treated like a drawing board, but on a one-to-one scale. The outlines of the walls, the intended walls, are laid out in cubit lengths. A cubit is about 52 centimeters. So one wall would be so many cubits long. And this is to match the work that's going on in the quarries where, for the first time really, all of the stone blocks are cut to the same size, a cubit length. And they're brought and laid down easily in the lines that have been laid out on the gypsum foundation. This must have helped unfamiliar builders, new builders, work who perhaps haven't had much experience before. Now in modern times, these blocks that are one cubit long have been called talatat blocks. It's a word that is derived from the modern Arabic word for three, talata. And it seems that it represents the measuring of one of these blocks by hand, using the span of your fingers. One, two, three. Three hand spans, talata, gives you talatat. This made construction much simpler and quicker. They were greatly embellished in the new, innovative, unique Amarna artistic style. The heretic pharaoh's city had well-defined boundaries. The first act in the creation of Amarna was the setting out of the perimeter of the site. And this was done by carving into the cliffs a series of big tablets, or stelae, accompanied by statues of Akhenaten and Nefertiti and some of the daughters. The stela showed a sort of design of the city, listing the projects that Akhenaten intended to develop. The construction of a large temple devoted to Aton, a series of buildings for himself and his family, the creation of a necropolis with a royal tomb and tombs for the court dignitaries. And on the tablets, a long decree is carved. In fact, there are two of them. The first was done in the king's fifth year, and then a second decree was carved on the first anniversary in the sixth year. And they reveal some of Akhenaten's thinking. They're written in the first person. The first set of stelae tell us how the Aton chose the place for himself and for Akhenaten, and how important it was that it was a piece of land that had not been used before, had not belonged to anybody before. The great sun temple devoted to Aton formed the true heart of the new capital. In order to understand Akhenaten, you need to study not only the written sources, but also to appreciate the extent to which his own vision, which we see as a religious vision, needed the site itself, the place, the piece of sacred territory that was dedicated to the Aton. The temple of Aton boasted an architectonic structure that was absolutely revolutionary for Egypt, a far cry from the traditional temple design. It rose up at the center of a huge rectangular plot, measuring 800 meters by 275. It was designed without covering, because the sun's rays were to penetrate triumphantly within. The central part of the sacred structure, to be used to consecrate offerings, was left completely open and measured 212 by 32 meters. A ceremonial path ran through the center of the two rows of stone, offering planks in the first, large courtyard, with another altar standing just over halfway through. The temple was a sequence of open courtyards, packed with offering tables. The monotony of the immense sacred complex was broken up by the alternation of base elements, open pillars, offering tables and columns, a few structures, small areas, and sacrificial altars. Unlike that of Amun in Karnak, the great temple was not a separate independent world, but rather an integral part of a city entirely devoted to the sun disc. The royal family seemed to have had several buildings to which we can give the name palace. In the center of the city, opposite the Aten temples, there was an enormous stone building that in modern times is called the Great Palace. It's a place for ceremonies, it's a very formal place. And in addition to that, there are at least three palaces made from mud brick. And in addition to the buildings that we call palaces, each of the royal women had a separate enclosure, seemingly located out in the desert. It contained gardens, little shrines, pavilions, small places for accommodation. And these seem to have been places of retreat and relaxation, of privacy, where you could enjoy a parkland setting with reminders of the cult of the Aten. Magnificent residences, richly decorated, luxurious gardens, buildings to be used for free time and relaxation. Akhenaten was an innovative city for the times in which it stood. The first designed capital of the ancient world, a happy little island, destined, however, like all utopias, to a short life and to a tragic end. The revolutions brought about by the heretic pharaoh were not limited to religion and politics, but affected all fields of Egyptian life. The revolution was not only in religion, it was in everything. They have changed the language. The language became very simple, because that language was to be used also by the people. So they changed the classical language of ancient Egypt to be a very simple language, which we call it in our science, the new Egyptian language. At the same time, they changed a lot in the art, the way of showing everything. It was more free at the time of Akhenaten. The new philosophy of Akhenaten was to become a clear message for the people and the artists were to be its messengers. The pharaoh invited them to abandon traditional limits and give free reign to their creativity and imagination. Artistic objects underwent change as well. Human characteristics and feelings were given ever greater importance, but the proportions and artistic canons were no longer similar to those of the past. Akhenaten gave the court sculptors Beck and Thutmose the job and responsibility of artistically changing the proportions, forms and shapes. Thutmose set up a workshop in the area of Tell al-Amanah, where plastic heads, rough drawings on stone tablets and unusually proportioned busts of the king have been found. Some of these show the king with a very prominent chin and others with a much shorter chin. Everything was revolutionized, the proportions of the body, the expression of the faces. The art was to reflect the break away from the ancient traditions of Egypt. At this point, we also see a change in the temples and fresco paintings and in art in general. Styles become more human with more refined features. Note the delicacy of the king's fingers as he touches the sun's rays during worship. We can almost see the emotions pass through his lips and body as he closes his eyes against the sun's strong rays. This is what distinguishes Amanah art. For years, scholars have wondered about the bizarre representation of Akhenaten. Wide hips, a slight bust, pronounced lips, decidedly feminine traits. The discovery of the two huge statues found in Karnak has led to all sorts of theories. Some have discussed hermaphroditism, malformations, even Marfan syndrome. The statue depicting the nude with no sexual attributes has fed many legends, but the explanation is actually much more simple. He considered himself the son of the god who created the world. The only god who created the world was male and female in one. And because he is part of this god, he also has the same. He is male and female. In order to portray the religious concepts contained in Akhenaten's hymn, which declared, you are the mother and the father of everything created, and you, in your compassion, are mother or father, the artist had to modify the physical appearance of the statue to represent the sovereign as both maternal and paternal. The heads of the pharaoh and his family are also portrayed in an unusual way. The large head may represent childhood, purity, or even more. There was some debate about why the sovereign's, queen's, and daughter's heads are portrayed as they are. And although some put it down to physical deformity or illness that probably affected the royal family, it was actually part of a whole new art form. For the first time, the pharaoh was depicted in the intimacy of family life. We can see him acting affectionately towards Nefertiti as he plays with his daughters. But the most surprising images, and those which most break away from past traditions, are hidden in the necropolis of Amarna, shown on the walls of the royal tomb. Whilst Akhenaten was at Amarna, his second daughter, Mekhetaten, died and was buried in this small chamber which is an annex to the main royal tomb. And this is a scene of the family grieving over her. Mekhetaten, the second daughter who died, stands here. This is an image of her as a young princess, still living. And we know it's Mekhetaten because her name is carved up here and the fact that she's a daughter of Queen Nefertiti. And in front of her arranged her family. Here is Akhenaten himself, her father. And behind Queen Nefertiti, her mother, and beyond, three of her sisters. And they're shown in an attitude of extreme grief. They're in despair. They're raising their hands in a gesture of mourning and despair. And for a royal tomb, this is a unique example of the expression of deep personal feeling. The scene tells one a few other things also about the Amarna period, what happened. Here is the name of Akhenaten. A dead body had never before been depicted and nor had a pharaoh in a moment of weakness. Here we see the king in front of his deceased daughter's body, saddened as any normal father would be. We see the girl's body lying on her bed, her family gathered round, crying and pulling at their hair as a sign of the great suffering endured for this tragic death. We see Akhenaten holding Nefertiti's wrist in an attempt to comfort her for the loss of a child. These details are a true revolution in Amarna art. Akhenaten is no longer the pharaoh, the supreme god, but is a human being, suffering for the death of a daughter that just a short while ago he was able to hold and comfort, a man as many others. This image fixes a scene from day-to-day life in stone, as do the other images on the walls of the tombs in Akhenaten's necropolis. The tombs of the heretic pharaoh's city are significantly innovative as compared with those of the Valley of the Kings, where the other pharaohs of the new kingdom were buried. In the Valley of the Kings, the tomb walls were decorated with scenes from the sacred books of ancient Egypt, representations of the journey that the deceased would make in the afterlife and of the trials he would overcome to reach the fields of the blessed. When you go into the royal tomb at Amarna, there's not a hint of that. All you have are images, this is in the burial chamber of Akhenaten's own part of the tomb, all you have are images of the sunlight. It's a daytime universe that Akhenaten is going to inhabit after he's died. There's nothing on the walls except pictures of the uttern and the king and queen. The Egyptians placed the kingdom of the dead to the west, where the sun sets. As such, the huge necropolis of the Valley of the Kings is on the west bank of the Lyon. The tombs of Amarna instead were dug out of the mountains to the east of the city. The size of the royal tomb, designed for the burial of Akhenaten and his family, is truly exceptional. The corridors and rooms are almost double the width of the Theban tombs. And the sarcophagus chamber is enormous, 10.03 by 10.04 meters, standing more than three meters high. This tomb was intended for Akhenaten himself, and I'm standing in the burial chamber. I'm actually standing on wooden decking that has been put here in the last few years for the comfort of visitors. If you took the wooden decking away, you'd find that underneath it, there's a rough stone floor, but rising up a few centimeters from the floor, there is this rectangular plinth, the surface of which has been dressed flat. And this is the base for a single large sarcophagus, which must have been the sarcophagus of Akhenaten himself. When the tomb was cleared by archaeologists, large numbers of fragments of a red granite sarcophagus were found in various parts of the tomb. They were taken to the Egyptian museum Cairo. An attempt was made to fit them together, and there is now, in the grounds of the Egyptian museum Cairo, a reconstructed sarcophagus of Akhenaten. It's unusual in one particular respect. The sarcophagi of kings of this period normally have each corner guarded by a particular goddess, whereas the corners of Akhenaten's sarcophagus are guarded by figures of Nefertiti, her arms stretched out in a protective embrace around the corners of the sarcophagus. Halfway down the corridor, on the right-hand side, a range of long narrow rooms that were not completed opens up. Perhaps they were intended for Nefertiti's burial, but the body of the great royal bride doesn't rest in this tomb. Near the second stairway there is another area, the last resting place of Akhenaten's second daughter, Mekhetaten. The pharaoh had also given orders for the burial of the most important figures of the city, including the courtesan Ai, a key figure in the heretic period, who, following the death of Tutankhamun, even became pharaoh. Other dignitaries, such as the vizier, almost certainly continued to live in Memphis, which remained an important administrative center, and were buried at Saqqara. A discovery that took place at the start of 2007 in the Saqqara necropolis confirmed this. The beautiful tomb of a high dignitary of the court of Akhenaten, but Ahemwi, the pharaoh's seal-bearer. The importance of the person is seen in the magnificence of the burial, decorated with bas-reliefs showing monkeys eating fruit and the seal-bearer receiving offerings. Akhenaten lived in his city with Nefertiti and his family, concentrated in the cult of his god in a sort of golden isolation, letting his political tasks slide over time, as the boundaries of Egypt were threatened by neighboring populations. Relations between Egypt and its neighbors are known to us thanks to an exceptional discovery that took place towards the end of the 19th century, the so-called Amarna letters. In the 1880s, people from the local village were digging in the city, looking for treasure, useful things and made a lucky find. They came across a collection of clay tablets buried in the ground and eventually they were sold as antiquities and scholars recognized that they were tablets written in the cuneiform script, a form of script using impressed wedge-shaped characters which was used to write the Akkadian language. These clay tablets were commonly used for diplomatic correspondence at the time. They are of great historic value because, differently from the texts found in the Egyptian tombs or temples, they provide a true picture of the Egyptian civilization of the times. They paint a rather surprising picture of the Egyptian empire. On their temple walls, Egyptians like to present themselves as uniformly victorious. They're the great military power that crushes foreign countries, wherever they are. But in this correspondence, it's evident that Egypt is just one player in a very complicated political game and was not that effective. And it's evident that the Egyptian empire was not an enormously strong one. And at this time, the principal state beyond the borders of the Egyptian empire was the kingdom of Hatti, the Hittite kingdom. And there was in Syria a constant tug of war between Egypt and the Hittites in which the rulers of local city-states could play each other off. And another feature that emerges from the letters is the extent of local treachery. Each one of these little city-states, although loyal to Egypt in theory and with an Egyptian representative present, was nevertheless trying to get the better of its neighbors and, in some cases, intriguing with Egypt's principal enemy, the Hittites. Akhenaten became ever weaker politically, the situation in Egypt so precarious as to require the intervention by Queen Tiye, the powerful mother of the pharaoh. Actually, she stood beside him, but something happened. When his mother, Queen Tiye, arrived at Amarna, Nefertiti disappeared. It is then that Nefertiti quite literally disappears. She disappears from the monuments. Her name was erased from the inscriptions and replaced by those of Mary Tartan, her eldest daughter. Perhaps she died. Perhaps she was disgraced. Perhaps she simply changed her name. Nefertiti disappears from the historical record in about the 12th year of her husband's reign. In many inscriptions, she's referred to as Nefertiti Nefer-Neferu-Aten. And at about the same time that she disappears, a new king named Ankeperure Nefer-Neferu-Aten appears ruling beside Akhenaten on the Egyptian throne. Very probably, Akhenaten was no longer able to rule alone. His co-ruler, Ankeperure, would appear, however, to come from nowhere. There's convincing evidence that this new king was female, and many scholars believe that, in fact, this new female pharaoh was Nefertiti herself. Excavations over a very long period of time at Amarna have shown that there are three royal names recorded in that way. One, of course, is Akhenaten, but they're not the commonest. The two commonest are for Ankeperure and Nebkeperure, who is Tutankhamun. And that implies that to the people who lived here after Akhenaten's death, there were two coronations. One for this king, Ankeperure, who is Smenkeperure, and the second for Tutankhamun. Nebkeperure, or Tutankhamun, the child pharaoh, husband of Ankesenamen, Akhenaten's daughter, was, for some scholars, the son of the pharaoh himself and a concubine. He was not, however, the direct successor of the heretic pharaoh and the co-ruler Ankeperure. Between them, a different person with unclear origins made his entrance when the heretic pharaoh died, Smenkara. Some Egyptologists believe him to be Tutankhamun's brother, others Nefertiti once again, reigning for a few years with a male name, taking the daughter, Meritaten, as royal bride. But what happened to Nefertiti after she died, either as a queen or as a ruling pharaoh? She must have been buried either at Amarna or at Thebes. The most beautiful woman of ancient times does not rest in the royal tomb of Amarna. Her body has probably been moved, perhaps, to the Theban necropolis. There are two female mummies, anonymous, found in the tomb of Amenhotep II along with a number of New Kingdom pharaohs. And both of these female mummies have been identified as possible Nefertitis. Of these, the most likely is the one called the Elder Lady. She was about the right age when she died, maybe around 40, 45. And she has some queenly attributes. And it's a nice match. However, she has been more convincingly identified as T, Nefertiti's mother-in-law. This leaves the Younger Lady. But the problem with the Younger Lady is that, as a recent CT scan shows, she was really too young to have been Nefertiti when she died. With the death of Nefertiti and Akhenaten, the splendid capital Akhetaten was abandoned, and the period of Amarna heresy obliterated from history. The cult of the god Amun was restored and the Theban priests returned to power. The name of the heretic pharaoh was cancelled from monuments and inscriptions in an attempt to remove the very memory of him. And the pharaoh's body, buried in the royal tomb, was moved from his eternal resting place. Some scholars believe that it was Tutankhamun himself who took him silently to the Valley of the Kings. In the Valley of the Kings, one of the tombs, it's numbered 55, so it's KV 55. One of the tombs, which was discovered early in the 20th century, seems to be linked very closely to Amarna, the Amarna period. It contained a mixture of items of burial equipment from different persons, and a wooden coffin which had been quite elaborately decorated with inlaid glass and gold bands, which contained the remains of a mummy reduced to little more than a skeleton. Originally, the gold bands had contained the name and titles of a person, but these had been methodically cut out, and so the identity of the person resting in there finally isn't directly known. That skeleton may also belong to Akhenaten. It's mysterious. It's something that we have to reveal the mystery of this tomb, because of all these objects. And this is why I'm personally interested now in this Amarna period, because of science that we have. We can use science and archaeology to reveal for the first time the owner of this tomb. We really believe that at the death of Akhenaten, some loyal people to Akhenaten moved all these objects, and they threw it here. And the coffin from the tomb, before people could make the structure of the coffin, and they brought it here. But the answer will be soon, that all of you will be hearing for the first time that we will reveal the members of the family of Tutankhamun, and we'll reveal for the first time the mystery of KV55. The lost dynasty of Amarna has been shrouded in mystery for more than 3,000 years. Many questions have remained unanswered. The heretic pharaoh has yet to find peace. I will breathe the sweet air that comes from your mouth. My prayer is to contemplate your beauty every day, to hear your sweet voice every day, and have a young vital body thanks to your love, to have you reach out your hands that provide nourishment, and to receive it and live thanks to this, to hear you utter my name forever, and it be forever on your lips.