The Intellectual development of Egyptology and popular perceptions of Egypt, 1780-1880

European interest in ancient Egypt has been almost continuous since the Roman Empire, but has passed through various phases of renewed interest, notably in the Renaissance and following the Napoleonic expedition of 1798/99, which led to the development of Egyptology as an academic discipline. The literature on the history of Egyptology has concentrated on 'achievements', such as the decipherment of hieroglyphic, and the 'discovery' of sites and artefacts (with an emphasis on 'great' discoveries) or on 'Egyptomania'. More recent studies have focused on the presentation of Egyptian artefacts in museums and the 'creation' of a European view of Egypt, and on the development of Egyptology as an academic discipline framed within the discourse on colonialism and imperialism. Little has been written on the intellectual development of the subject or the dissemination of knowledge to a wider public. This study addresses the intellectual basis of the discipline around 1800, and its responses to direct contact with the country and its monuments; the interest in and impact of the decipherment of hieroglyphic, and the subsequent intellectual development of the academic discipline in (largely) Western Europe within the broader changes in understanding the ancient world at the time. It examines the influences of other emergent disciplines, theories, and methods of research in the nineteenth century.

The research also enquires into what the general public's perceptions of Egypt, and their interest in the country, were. The late 18th century perception of Egypt (exemplified in works such as Mozart's 'Magic Flute') was deeply influenced by the esoteric tradition and Freemasonry. The study asks to what extent did the opening of Egypt to visitors, the access to many Egyptian antiquities in the European museum collections, the decipherment of hieroglyphic, and the religious revivals of the 19th century affected views of, and interest in, Egypt? How did the newly available archaeological material, academic developments in other disciplines, and the religious background affect the way in which Egyptologists selected and interpreted the evidence available? Also, to what extent did the material newly available and understood alter the presentation of Egypt? The paintings of, for example, Edward Poynter and Lawrence Alma Tadema incorporated archaeological material that could be seen in the British Museum, and such paintings were later engraved as illustrations for Bibles. Similarly, Verdi's opera Aida was based upon a plot-line by the Egyptologist Auguste Mariette which was loosely derived from a newly discovered hieroglyphic inscription: it differs in many ways from Mozart's in its presentation of a vision of Egypt (even if neither work is truly about Egypt).

The research will consider reception theory as it has been used in classical studies, and how this can provide valuable approaches for Egyptology. The research does not ignore the imperial and colonial background to the development of Egyptology, which have been extensively examined, but attempts to expore the specific ideas and stimuli to the discipline's development.

The research can be disseminated to the benefit of the academic community and the wider public through a range of means and organisations.

Specific elements of the research, notably that involving travellers, can add greater detail or new information to museum exhibits and records on the acquisition, provenance and context of individual artefacts. This applies, for example, to coffins in the Swansea, Edinburgh and Exeter collections: the link between these emerged in a piece of specific research that ultimately contributed to the formulation of this research project.

One possible use of the research relates to the William Bankes Egyptian Collection displayed at Kingston Lacy, Dorset. This is a very popular National Trust property, but the Egyptian collection is at present a rather underused resource. The collection includes an obelisk (in the grounds) that was of key importance in the decipherment of hieroglyphic. The rich collection of Bankes's written material and drawings could be used to explain the story of decipherment and development of British interest in Egypt. The links between Bankes, Henry Salt and Giovanni Belzoni could be emphasised along with the role of Salt and Belzoni in the aquisition of the Egyptian artefacts that form the basis of the British Museum's Egyptian collection.

Information on individual travellers, who came from a range of backgrounds - army and navy officers, diplomats, missionaries, architects, artists, politicians and the indpendently wealthy - can be disseminated through the ASTENE (Association for the Study of Travel in Egypt and the Near East) website, Bulletin, Study Days and Conferences. ASTENE has an international membership, with a wide range of interests, from archaeology to literature. These travellers and the development of Egyptology as an academic discipline are also subjects of interest to the local Egyptology and related societies in Britain: these number nearly forty, some with a membership of over 100 and hold regular lectures and study days.