Kindred in Stone: A Family Remembered

This intimate limestone group captures three generations (or three male relatives) in quiet harmony. The two men and the boy are rendered in the distinctive style of the Amarna Period, with elongated heads and supple, naturalistic forms.

Scholars have long debated their identity: are they a grandfather, father, and son united in familial devotion, or could they represent an allegory of one man’s life stages? The latter seems unlikely, for here the figures interact tenderly, their arms entwined, their hands held; gestures of affection and kinship rather than symbolism.

Amarna Princesses

The elder figure, his features wise and serene, likely represents a revered patriarch or household lord, honoured within a private shrine. Such domestic icons were common in Amarna homes, embodying love, loyalty, and remembrance far from the formal temples of the gods.

Carved in Cloth and Calm

The three figures are adorned (or, in the case of the youngest, deliberately unadorned) with the quiet grace typical of the Amarna age. The first man wears a finely pleated linen tunic, cinched with a cascading belt from which a dagger sheath subtly peeps, suggesting both elegance and readiness. His head is crowned with a short, plaited helmet-style wig, a fashion favoured among men of refinement. At his side stands a second figure, bald and bare-chested, clothed only in a pleated linen kilt, or shendyt, its crisp folds capturing light with sculptural precision.

Amarna Farmer

The youth, in contrast, is portrayed nude; the traditional mark of childhood in Ancient Egyptian art. His head is clean-shaven save for a plaited fringe and small side-braids by each ear, which are both decorated with large earrings, lending him both innocence and charm.

Together, the three stride forward in unison, their almond-shaped eyes heavy-lidded, their lips softly pursed in the serene expression so characteristic of Amarna sculpture. Through this balance of costume, gesture, and form, the artist conveys not only family and rank but also the distinctive grace and humanity of Akhenaten’s artistic revolution.

The Hidden Blues of the Amarna Home

Scientific study has revealed that all three once wore dazzling broad collars painted with Egyptian Blue; the first synthetic pigment in human history. Though the colour has faded in time, minute traces of this luminous blue were rediscovered under the microscope and through infrared luminescence photography, which can detect even ghostly remnants of the pigment’s glow. Remarkably, where the collars once lay, the skin beneath remains a deeper red, protected for over three millennia by the ancient artist’s blue touch.

What we see today is the serene surface of limestone, but through science, we glimpse the colours of devotion that once animated this quiet family of stone.

The piece was purchased in Luxor in 1911 from the well-known antiquities dealer Mohammed Mohassib. Originally, it likely hails from Gebelein in southern Upper Egypt or from Amarna (ancient Akhetaten), the short-lived capital founded by Akhenaten. Both sites were rich in private and domestic artefacts of the Amarna Period, and the group’s refined workmanship and intimate scale suggest it once graced the household shrine of a prosperous family, cherished as a symbol of devotion and ancestral remembrance.

Summary:

Painted Limestone Portrait of Two Men and a Boy

New Kingdom, 18th Dynasty, reign of Akhenaten, c. 1353–1336 B.C.

Purchased in Luxor from Mohammed Mohassib, 1911. From possibly Gebelein or Amarna (ancient Akhetaten)

Met Museum | Rogers Fund. 11.150.21