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Ceramic pot with partial bird mummy trapped inside. Remainder of mummy is in a bag.&#13;
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Ceramic jar in excellent, complete condition. Contents visible at lower end and presented with a tray of loose material which had come from the pot. Radiography showed that the pot contained granular inclusions as was expected from the visual appearance. These are likely to be natural inclusions in the clay and appear as radiodense anomalies in the ceramic material. The images showed the presence of the contents firmly affixed to the pot. X-ray and CT both highlighted the presence of bone fragments, thought to be from a bird as is consistent with the pot burial. No diagnostic skeletal elements could be isolated from the images, so identification beyond ‘avian’ is not possible in this case.&#13;
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Cat mummy in a wooden coffin. Coffin is crude. Mummy is wrapped in striped bandages.&#13;
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                <text>RADIOGRAPHIC REPORT&#13;
At first glance this mummy bundle, presented lying within a crude wooden coffin trough, appears to contain a complete feline skeleton. However, on closer inspection, the skull and torso appear to be joined, not by the cervical spine, but by a wooden implement which is imbedded deep within the wrappings and must have been intentionally used to join the body prior to the mummification process. This is not clearly visible on the X-rays so this highlights the importance of CT scanning to add further information on construction techniques. The wrappings around much of the body appear to be fairly loose. The skull appears to have suffered extensive damage causing many of the skeletal elements to fall to the base, leaving the outline of the bandages indicating that the body had desiccated prior to being damaged. The lower body appears to be disarticulated, but it predominantly the right anatomical position. The lower limbs appear to show un-fused or partially fused epiphyses, indicating that this animal was juvenile or sub-adult at the time of death. A dense metallic ring is visible radiographically beneath the mummy but within the coffin trough (modern conservation label). The base of the coffin displays a square hole towards the lower end of the cat mummy (make a note of this in case debris is being lost from the mummy through the hole). Tree rings are visible in the wood of the coffin, along with granular densities of unknown origin which appear to lie within the wood. There is a modern metallic conservation pin through the neck region. &#13;
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Partially unwrapped hawk presented in plain brown linen. Beak exposed. &#13;
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Complete and articulated skeleton of a hawk with intact talons and tip of the beak visible. Presented in the standard body position – wings folded in close to the body, legs outstretched and crossed. The neck is broken in the region of the cervical spine; however, this is most likely due to the mummification process which has caused the skull to be forced down upon the breastbone leading to an awkward appearance. This may have been caused when the bundle was wrapped as has been seen in one of the experimental mummies created at the KNH Centre. There is a mass in the abdominal cavity, visible on the CT reformat, which is consistent in appearance with visceral contents indicating that the bird was not eviscerated. Numerous dense anomalies are visible (by the neck and the legs) thought to be small stones which became trapped within the mummy bundle through the mummification process. There are no visible age indicators suggesting that this bird is likely to have reached skeletal maturity. &#13;
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He primarily collected objects through English auctions rather than visits to Egypt, with his collection containing items acquired by James Burton and the British Consul, Henry Salt. The collection remained on display at Alnwick Castle until the mid-1900s, before being removed to the British Museum for conservation before the outbreak of the Second World War. &#13;
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                <text>Born in Hamburg, Germany, Max Emil made his money in the shipping industry as part of Gottschadk and Co. He moved to Manchester and became a British citizen in 1875. He travelled to Egypt in 1895-6 and competed for high-quality Egyptian antiquities with the likes of Major William Joseph Myers, who donated his collection to Eton College. In an entry in his diary for 18th April 1896, Myers records: &#13;
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"...to the Continental Hotel where I met [Carl] Reinhardt and Mr [Max] Robinow, a Manchester cotton manufacturer who is here in Cairo for his health. He has begun to collect Egyptian things and has a fine winged Isis in blue which I refused last year and Reinhardt sold to him. I much want to get it as it belongs to the same mummy as my winged scarab. He was very polite and pleasant and when he gets home I think he will let me have it for wh[ich] I shall be most grateful and it is lucky that it fell into such good hands."&#13;
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Robinow was also friends with Manchester industrialist Jesse Haworth, who introduced him to the archaeologist W. M. Flinders Petrie. It is likely that Robinow received part of his collection from Petrie's excavations. &#13;
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                  <text>The Old Speech Room Gallery, Harrow School</text>
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                <text>Sir John Gardner Wilkinson (1797-1875)</text>
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                <text>John Gardner Wilkinson spent at least 12 years in Egypt, where he wrote about and sketched the things he saw. Wilkinson's passion for both ancient and modern Egypt, lead him to become known as the 'Father of British Egyptology'. He left his collection of antiquities, and his diaries, to Harrow, where he went to school, so that pupils might learn about the cultures he witnessed at first-hand. </text>
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                <text>William Sharp Ogden (1845-1926)</text>
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                <text>William Sharp Ogden was born in 1845 in Bolton le Moors, the son of Thomas Ogden, a coach builder, and his wife, Mary. William married Emma Vaison on 19th June 1873 at Manchester Cathedral, and they lived for a long time in Rusholme, Manchester, until they moved to Finchley, London in around 1918.&#13;
&#13;
William Sharp Ogden was an architect, and his work includes the red brick Synagogue on Cheetham Hill Road, Manchester, as well as several monuments at Urmston Jewish Cemetery and Southern Cemetery. He also wrote many books on a range of subjects including mercantile architecture, Christian grave stones, antique oak furniture, the Roman mint and early Britain, and portraits of Shakespeare.&#13;
&#13;
William Sharp Ogden was also a collector of antiquities. Manchester Museum's Etruscan collection was formed mainly from the donation Ogden’s collection, a short time before his death. A picture of the nature of his collecting habits and his social connections can be constructed from looking at how he acquired his objects. A number of his pieces were bought from dealers in London, however the labels on several vessels position them as previously having belonged to well-known collections including; ‘Signor Avvocato Marcioni, Orvieto’, ‘Rothschild, Rickmansworth, 1907’, ‘Fairfax Murray Collection, Viterbo’, and ‘Weber Collection’.&#13;
&#13;
He also had a keen interest in coins. Ogden was a member of the British Numismatics Society, and in 1925 he donated a collection of coins, including 1500 from Roman Alexandria to Manchester Museum.&#13;
&#13;
William died at the age of 81 on 26th April 1926 at his home in Finchley, London. William and his wife Mary had no children, and his estate, valued at £10961 1s 2d, was left to Sir Henry Alexander Miert and Evelyn Frances Goffey. He also left a large bequest of 17-19th century British prints, including the largest and most comprehensive collection of William Hogarth prints in the country to the Whitworth Gallery, Manchester.</text>
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                <text>Michelle Scott</text>
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                <text>Manchester Museum</text>
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