Standing Statue of Thutmose III

Beginnings…

When Thutmose II, the reigning pharaoh of Egypt’s 18th Dynasty, died around 1479 B.C., he left behind a young son, Thutmose III, born of a secondary wife named Iset. Though Thutmose III was the legitimate heir, he was still a child, and the kingdom needed a strong regent to govern in his stead. Enter Hatshepsut, Thutmose II’s chief royal wife and the daughter of Thutmose I; a woman of formidable lineage and ambition:

Initially, Hatshepsut assumed the role of regent, governing on behalf of her stepson. However, within a few years, she boldly declared herself pharaoh, adopting all the regalia and titulary of kingship, including the false beard, double crown, and male pronouns. Her decision likely stemmed from a combination of factors: her own royal pedigree, the desire to preserve stability during a vulnerable time, and perhaps the support of powerful officials like Senenmut. Hatshepsut’s reign was marked by prosperity, monumental building projects, and extensive trade expeditions, notably to Punt, cementing her legacy as one of Egypt’s most successful rulers.

The co-regency of Hatshepsut and Thutmose III was an extraordinary arrangement that lasted for nearly two decades. Throughout Hatshepsut’s reign, official inscriptions and temple reliefs show both rulers, though Thutmose III’s presence was often overshadowed by Hatshepsut’s grandeur and achievements.

Theories abound as to how Thutmose III felt about this unusual arrangement: some suggest he harboured resentment, later attempting to erase Hatshepsut’s memory by defacing her monuments and erasing her cartouches, while others argue that he accepted his subordinate role, focusing on military training and preparing for his own rule. However, the true evidence suggests a more complex picture. The erasure of Hatshepsut’s name occurred late in Thutmose III’s reign and may have been motivated more by political necessity than personal vendetta, perhaps to bolster his own legitimacy or that of his son, Amenhotep II:

Hatshepsut’s erasure from official monuments may have stemmed not merely from personal animosity, but from her unprecedented assumption of Pharaonic power as a woman, a challenge to the traditional male-dominated kingship. Her reign disrupted the accepted gender norms of the era, leading later rulers, possibly including Thutmose III and his successors, to remove her name and images in order to restore the conventional succession narrative and reinforce the stability of male rule. However, this erasure was selective and incomplete, hinting at complex motives beyond simple gender bias.

In short, there is no clear evidence of any personal animosity or hostility between the two during Hatshepsut’s lifetime, and Thutmose III’s subsequent successes; including his military campaigns and architectural patronage, demonstrate a ruler who ultimately benefited from the stable foundation she provided.

Thutmose III’s Reign

This statue represents Thutmose III as a great, athletic warrior king. The “nine-bows,” which refer to the traditional foes of Egypt, are depicted below the king’s feet. According to the inscriptions on the base, this statue was part of a group of fine sculptures that decorated the rooms of the Festival Hall of Thutmose III (Akh-menu) at Karnak.


Thutmose III is often hailed as the “Napoleon of Ancient Egypt”, and stands as one of the most brilliant military strategists and empire-builders in Egyptian history. Ruling for a remarkable 54 years (c. 1479–1425 B.C.).

Once sole ruler, Thutmose III embarked on a series of military campaigns that expanded Egypt’s dominion to its greatest territorial extent, stretching from Nubia in the south to the Euphrates in the north. His decisive victory at the Battle of Megiddo, coupled with annual campaigns into Syria and Canaan, earned him the epithet “Napoleon of Egypt”, reflecting his tactical brilliance and relentless ambition.

Thutmose III’s rule ended with his death around 1425 B.C., leaving a legacy of monumental constructions and vast imperial wealth. His successor, Amenhotep II, his son by a lesser wife, carried on his military traditions, though perhaps with less flamboyance.

Thutmose III’s Great Royal Wife, Satiah, and later Merytre-Hatshepsut, mother of Amenhotep II, played vital roles in legitimising his lineage and securing the dynasty’s continuation. Through both conquest and cultural patronage, Thutmose III’s reign set the stage for Egypt’s imperial zenith, and his reputation as a warrior-pharaoh remains unmatched in the annals of the ancient world.

“He was quite a remarkable fellow, this warrior prince of Thebes and the greatest of all generals in Egyptian history. Unlike many generals before and after him, he did not permit his military training and experience in war to narrow his intellect.

He was no military mechanic or a mere technician of war; instead, he was an integral man who retained his interest in things botanical, biological, religious, literary, aesthetic, and architectural to the end of his life. His broad understanding of his world sharpened his already literate, well-read mind, and his early education and training prepared him to reason clearly. He was a brilliant strategic thinker.

To him, Egypt owes the conception and implementation of a new strategic vision that permitted this once defeated and insular society to become a great nation of imperial dimensions that ruled all the world that an Egyptian would have considered worth knowing for more than five hundred years.”

― Thutmose III: The Military Biography of Egypt’s Greatest Warrior King, by Richard A. Gabriel (#aff)

This grey schist statue of Thutmose III (JE 38234), housed in the Egyptian Museum, Cairo, presents the warrior-king in a poised and commanding form. Carved from durable grey schist, the statue depicts Thutmose III wearing the Hedjet, the white crown of Upper Egypt, signifying his authority over the southern kingdom and his role as a unifier of the Two Lands. His face, idealised yet lifelike, exudes confidence and youthful vigour, with finely detailed features and a serene, knowing gaze. The pharaoh’s body is rendered with classical elegance. The Hedjet crown’s prominent height draws the eye, symbolising him to deities like Amun.

The choice of grey schist (a hard, fine-grained stone) reflects the statue’s intended permanence, while its polished surface highlights the high level of craftsmanship typical of the 18th Dynasty. This statue not only glorified Thutmose III’s role as king but also served as a potent symbol of divine kingship within temple precincts, reinforcing the pharaoh’s eternal bond with the gods.

Grey Schist & Wadi Hammamat

Grey schist, a hard, fine-grained metamorphic rock, was highly valued by the Ancient Egyptians for its durability and ability to take a fine polish, making it ideal for statues and ceremonial objects. This stone, often described in modern terms as slate or siltstone, was prized not only for its aesthetic qualities; its cool, dark tone creating a striking contrast with brighter stones like limestone and sandstone, but also for its symbolic association with strength and permanence. The Egyptians quarried grey schist primarily from the Eastern Desert, near Wadi Hammamat, where rich veins of this stone were accessible. Transported along the Nile River, these heavy blocks were then meticulously carved by skilled artisans into statues like this of Thutmose III (JE 38234), ensuring that the pharaoh’s image would endure through the ages.

The Wadi Hammamat, nestled in Egypt’s Eastern Desert, was a vital source of fine stones such as grey schist, siltstone, and other metamorphic rocks. Quarrying in this region was an arduous process, requiring teams of skilled labourers to cut into the hard rock faces using copper and later bronze tools, supplemented by pounding stones and abrasives. Workers carved blocks and slabs from the quarry walls, which were then smoothed for transportation. The rough-hewn blocks were hauled across the desert to the Nile, where they were loaded onto boats for the journey to major construction sites in Thebes, Memphis, or Giza.

Compared to granite from Aswan and basalt from quarries near Faiyum, grey schist was slightly easier to carve, though still demanding in terms of skill and effort. Unlike the coarse grain of granite or the density of basalt, schist offered a fine texture that enabled delicate surface details and a smoother polish—making it perfect for statuary like the Thutmose III figure. Additionally, the muted grey hue of schist provided a subtle elegance, contrasting beautifully with the brighter limestone and painted surfaces of temples and tombs.

Summary:

Grey Schist statue of Thutmose III, wearing the Hedjet (White Crown of Upper Egypt)

New Kingdom, mid 18th Dynasty, reign of Thutmose III, c. 1479-1425 B.C.

Now in the Egyptian Museum, Cairo. JE 38234