Susanllewellyn's Blog

February 9, 2011

What Kind of God Do You Think You Are? Horus the Elder (3)

Filed under: Uncategorized,What kind of god do you think you are? — Valerie Billingham @ 8:21 pm
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Did you put the pen down after the last post? And how is the cramp now – better?  Good, because we’re going to press on with Horus the Elder.

This time, we’re going to make a start on his title, Foremost of Letopolis. And here is Horus the Elder’s title spelled out quite fully in hieroglyphs:

  , khenty Khem, Foremost (of) Letopolis.

First and foremost, the word khenty comprises the three signs stacked one on top of the other on the left:    The middle and lowest of them will be familiar to old Office Hieroglyphs hands, but the top one is new to this blog:  , a row of water jars on a stand making the triliteral sound khent.  (Ignore the diagonal line cutting across the top left hand corner of the sign in this example, it shouldn’t be there.)  The wavy ripple of water beneath reinforces the n sound, and that perennial favourite, the loaf of bread, reinforces the t.  The y sound is not spelled out here; it’s just understood.  Khent = before or in front of, khenty = the on who is in front or foremost.  It was obvious to the Egyptians from the context that khenty was what was meant here, and adding in the y would have spoiled the arrangement of the signs, so they left it out.

But back to the hieroglyph, and the water jars on a stand.  An individual jar on a stand looked like this: 

The jar has to be on a stand because it has a pointed bottom and would fall over if it wasn’t.  See how the base of the stand adds that triangular shape you can see in the hieroglyph?  Here’s a more elaborate pained version of three jars in a row:

The artist has carried that shape over into the bottom of the jars as if they were shaped like that.  And that’s the easiest way to draw them.  I start by drawing each jar like a figure eight, with an elongated oval upper loop and a short, flattened triangle for the bottom one.  The you just add a little T on the top of each jar for the stopper and a bent line each side from the shoulder of the jar to ground level to suggest the framework of the stand.  I like drawing khent.  It looks complicated but it’s easy once you know how.

I think your hand deserves another rest now.  We’ll get on to Letopolis next time round.

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February 6, 2011

What Kind of God Do You Think You Are? Horus the Elder (2)

Filed under: Uncategorized,What kind of god do you think you are? — Valerie Billingham @ 5:39 pm
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I left you last time round, hand poised over the sorry-you’re-leaving card of a newly redundant colleague, part-way through the offering formula and about to write in the name of the god Horus the Elder, patron divinity of swingeing cuts – except that I hadn’t told you how to spell it.  Sorry about that. You must have terrible non-writer’s cramp by now.  Take a break and flex those aching fingers while I show you which hieroglyphs to home in on. 

You remember Horus the Elder, from his flat-share temple at Kom Ombo; here he is again on the left.  The hieroglyphs which make up his name are these ones, from the right-hand vertical column above his head: 

Heru wer, known to the Greeks as Haroeris, Horus the Elder or Horus the Great. 

Ignoring the  last vestiges of the signs immediately above this group in the relief, the first hieroglyph is the falcon  , transliterated as  originally, but without the w as time went on.  The key to drawing the Horus falcon is to give him curves.  I usually start with the little curved beak, then a rounded head, down the back to the tail, give him some decent feathering around the legs, then bring a curvy wing around to hide his breast, put his feet on and dot his eye.  Everything has to be compact, sleek and rounded for Horus, as in this beautiful relief: 

  The species of falcon which the Egyptians identified with Horus has not been identified, and it’s probably a wild goose chase anyway (no pun intended) as the Egyptians were not that bothered about the finer subdivisions of the Linnaean system of taxonomy – not least becasue it hadn’t been invented then.  But here’s a picture of a real Egytpian falcon anyway: even more beautiful.

The second half of the god’s name is , a stooping old man leaning on a stick.  This is usually the determinative for an old man but it can also be used for a chief or great man, as the village headman would probably be a wise elder – or so one would hope, anyway.  In this case, the latter applies, as it is transliterated wr, “great”.  I usually draw a blob for the head first, then a curve for the back and hips, making him definitely bent with age and not upright as a younger man would be.  Bring the line across for the bottom of his kilt and do a parallel curve up for the front of his body.  Put on matchstick arms and legs, giving the left arm a dangling position and the right arm a sharp v so he can clutch his stick.  The a line across the waist makes his belt.

I have scoured all the sources currently at my disposal for an image of a stooped old man leaning on a staff for you, but without success.  They’re all too upright.  The Egyptians didn’t want to be surrounded by any but fit, active people in th afterlife, and certainly didn’t want to be decrepit themselves.  Sorry.

So there he is:  Horwer, Horus the Elder.  Although the portrait we’re admiring at the moment is from his shared accommodation at Kom Ombo, Horus the Elder was known as “Foremost of Letopolis”, from his main cult centre at the modern Kom Ausim.  We’ll learn how to write that title in the next post.  have a rest now.  Your hand must be killing you.

April 8, 2010

What Kind of God Do You Think You Are? Nut (2)

Filed under: Uncategorized,What kind of god do you think you are? — Valerie Billingham @ 10:44 pm
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It’s been a while since we left the terrible twins Geb and Nut, fighting and fornicating like an episode of Skins.  That’s almost poetry.  Well, maybe not.  Time to have a look at Nut’s name and titles.

We have two examples of her name from the pictures in the previous post.  In the family portrait on papyrus, Nut’s label is fixed, not tastefully in the bottom centre of the mahogany frame, as one would expect in a boardroom, but is slapped, rather tastelessly to modern eyes, right in front of her pubic area:

This is the kind of thing which starts rumours in the office:  I leave you to contemplate the appropriateness of the position as it may or may not apply to any members of yours.  The arm pointing to Nut’s genitals belongs to her father, Shu.  You can’t blame him:  he’s just trying his best to prop her up and keep her away from Geb, and she is a big girl.

Shu is not the only one being familiar; zooming in on the hieroglyphs which make up Nut’s name, we find most of them looking familiar too:

There’s a rather apathetic version of the zigzag line of the letter n, reinforcing the n in our old friend the water pot nw, the loaf of bread for the letter t, all spelling Nwt, Nut and rounded off with two determinatives:  the sky symbol for obvious reasons, and a seated goddess holding a slightly smudged lotus blossom drooping on a stem.

The second version of Nut’s name appears, rather more respectably, above her head on the inside of the coffin lid:

You can just make out the nw-pot, letter t and the sky hieroglyph.  There’s no room there for the embellishments of the first version.  However, the coffin lid also depicts Nut’s favourite title:  ms(t) ntrw, mes(et) netjeru, mother of the gods.  This may be the reason why the scribe of the papyrus thought writing Nut’s name as close as possible to her birth canal was just as appropriate as writing it next to her head.  The ancient Egyptians were a practical people.  They weren’t prudish as we are.

This is the first word, ms, written in front of Nut’s face:

Reading from the right, the first symbol is a new one:  the biliteral ms, mes. It’s easy to draw in its simple form:  one straight vertical line and two curved ones overlapping the top coming in from  different directions.  However, the simplicity is deceptive; the original object from which the hieroglyph derives is an apron made of fox skins tied together.  More elaborate versions can be found, such as this one, where you do get more of a sense of fox pelts tied together, with their brushes hanging down and the limbs dangling:

We’ve had the second symbol before; the strip of folded cloth reinforcing the letter s in  ms.  There should be a letter t for the feminine ending of mother, but, well, there isn’t in this example.  Perhaps Nut is trying to cut down on the bread – she is on the large side.

The second half of the title, ntrw, netjeru, gods, is written behind Nut’s head, so the whole thing reads top down and right to left:  Nwt ms ntrw, Nut mes netjeru, Nut Mother of the Gods.  We’ve seen the flagpole hieroglyph for god before.  This time, instead of three short strokes to convey the plural, the artist has painted three flagpoles out in full.  It means the same thing.

We all know colleagues who talk and act as though they invented a product or a practice when it’s been around in the company for a generation.  Nut was not the first goddess, nor the first goddess to give birth.  Her mother Tefnut had done it all before her, but you didn’t hear her bragging about it the way her daughter did.  What was so special about Nut’s experience of motherhood?  What was so fantastic about her kids?  We’ll find out next time.

March 27, 2010

What Kind of God Do You Think You Are? Geb (2)

Let’s look at the nameplate attached to the portrait of the third MD of the divine family firm.  Here it is:

Reading right to left, from the top of the column to the bottom, it says:

Gb `it ntrw   Geb it netjeru  Geb, Father of the Gods

Let’s look at his name first:

The first hieroglyph is clearly a bird, and although it’s cursively rendered, there’s something familiar about its face.  What do you mean, you don’t see it?  Have a look at this one:

Recognise him now?  I’ll give you a clue:  last time we met him, it was as a disembodied head.  Ah – got it!  Yes, that’s right, his head had made a sola appearance in Office Hieroglyphs as 3pdw, apedu, fowl, in the list of offerings.  Now we have the whole goose – a white-fronted goose in fact, just like this one:

 Beautiful, isn’t he?  He’s tricky to draw, but worth it.  I usually start with a short horizontal line for his beak, curve up and over for his head, come inwards for his neck and then sweep outwards and downwards for his back, down to the tip of his tail.  The you can return to the base of his beak, draw a flattish line for his chin and swoop in and out again for his neck and breast, pulling the line downwards for his belly and joining up the two lines at the tail tip.  Make a deep curve across his body for the wing, and make the wing tip cut the line of his back.  Then you can put in two short lines of his legs and a baseline for his feet.  A final dot for his eye, and he’s done.

The goose hieroglyph is a biliteral, gb.  The foot hieroglyph which represents the letter b is another old Office Hieroglyphs friend, and is only there to reinforce the b sound already contained in the goose symbol.  Finally, the seated god hieroglyph, familiar from many of our divine corporation nameplates, denotes that this is the name of a god.

 The next group looks straightforward, but, like Geb, it’s a treacherous item:

You’ll recognise the top half of Tefnut’s snake sandwich; the loaf of bread and the horned viper.  On the face of things, this group should be pronounced tef, but in fact it’s the word ‘it, it, father.  Other versions of the word have the inital ‘i written out in full, but ‘i is a semi-vowel (a vowel with some of the force of a consonant) and we know the Egyptians placed greater emphasis on writing down the consonants than on writing vowels, so they often left out the ‘i of ‘it.  The viper in this case is not the letter f but a determinative  – a soundless symbol put in to show what kind of word this is – whose significance is obscure.

And so to the final group of hieroglyphs in Geb’s title:

We’ve seen them all before:  the temple flagpole representing the sound ntr, the seated god determinative; the loaf of bread for the letter t and the three short strokes denoting the plural ending w, the whole lot reading ntrw, netjeru, gods.  Strictly speaking, the letter t shouldn’t be there.  As we know, it’s a feminine ending, which might suggest that Geb is claiming only to be the father of the goddesses, which would not do him justice.  We know he was not exactly a champion of female rights, so we can’t take this as evidence of positive discrimination in the workplace.  I think it’s probably crept in there because the similar title God’s Father, found in the titles of certain high-ranking Egyptian nobles and possibly meaning King’s Father-in Law, was often written with the flagpole sign followed by the loaf of bread from ‘it, father, and the scribe just kept on going because he was so used to writing that title, even though he’d already written the word for father.

But enough of these bureaucratic technicalities.  Geb was the third patriarch in the family firm.  Why did he claim to be the father of the gods?  What was so special about his divine kids?  Well, let’s meet the gods’ mother, first, and after that we’ll find out.

March 21, 2010

What Kind of God Do You Think You Are? Tefnut (2)

Time to run our fingers down Tefnut’s nameplate now.  Here it is:

Tfnwt nbt pt   Tefnut nebet pet   Tefnut, Lady of Heaven.  Let’s look at her name first:

As you can see, her name – if you forget about the unspoken determinative at the end for a minute – begins and ends with our old favourite the loaf of bread letter t, which I suppose makes it a sandwich.  And what’s the filling?  The horned viper letter f and the water pot nw, both of which we’ve had before.  Not everyone’s choice of a packed lunch, perhaps, although snake is supposed to taste like chicken.

The determinative is new, though, and no, it’s not the discarded sandwich wrapper.  It’s a cursive writing of another serpent hieroglyph:

This one is a (non-horned) cobra, and was often used as a determinative for the name of a goddess, especially if the goddess in question were a snake goddess like Wadjet, the cobra goddess who adorned the King’s forehead.  But other goddesses could use it as well.  Tefnut was a lioness rather than a cobra, but her Dad Atum was the original giant serpent, so I suppose she felt entitled.  And she ate those little horned vipers for lunch.

The cobra determinative is tricky to draw, but it can be done.  You may want to start with a little flat head, like a sock puppet looking straight ahead.  Then you can make the wide sweep of the hood, tapering down to the narrow body; turn and continue horizontally, then make a downturn for the tail.  The you can add a loop in each “elbow” to suggest the coils.

Here’s one doing some textbook rearing:

You’d need a whole row of baguettes to make a sandwich out of that.

Tefnut’s title, nbt pt, starts with a familiar object: 

the basket hieroglyph nb, neb , Lord, which should really be followed by a t in Tefnut’s case, to make it the feminine nbt, nebet, Lady, but the scribe hasn’t put it in. Well, you can see he was in a hurry from his cobra.  The group of three signs underneath the basket is this one: 

pt, pet, the sky or heaven.  The first two symbols are familiar; you’ll remember from Office Hieroglyphs the stool made of reed matting which represents the letter p.  The scribe in Tefnut’s case has abbreviated it to three short strokes, which was quite common in cursive hieroglyphs, but I recommend you draw it as a square.  And there’s yet another loaf of bread t.  The rectangle with two downward-pointing corners is the sky symbol.  You can see it painted blue on the top of this stela, although the artist has had to bend it around to fit the curved top:

Bendy or not, it gives the sun disk somewhere to hang.

The sky had a particular significance for Tefnut, as we’ll find out when we meet her and Shu’s children.  In the meantime, just remember:  however heavenly the chairman’s daughter, if she invites you to lunch, take your own sandwiches.

 

February 26, 2010

What Kind of God Do You Think You Are? Shu (3)

So, we’re running our fingers across Shu’s office nameplate:

 

Our tongues protruding slightly, our breath misting up the polished brass,   we’ve traced the contours of his name, and are now sliding our fingers down the two stacked hieroglyphs of his title:

  sa Ra son of Re.

What?  Son of whom?  You just told us Shu was the son of Atum, and now you’re telling us he’s the son of Re?

Well, yes.  The thing about ancient Egyptian gods was that many of them had their own cult centres in provincial cities the length and – at least in the Delta – the breadth of Egypt.  In their own temples in their own cities, as far as they and their priests and citizens were concerned, they were the most important god around.  Several of them, not just Atum, claimed to be the creator god, and got put at the top of the family tree.  Whoever painted and captioned this particular family portrait obviously had it in his head that Re was the creator god and father of Shu, even though he’d drawn Atum sitting in front of him.  

More than one creator god – OK, we can understand that.  Every company chairman is the supreme god in his own universe.  As far as the bosses of Pepsi and Coke are concerned, there’s only one cola in the world.  So who is this Re, then?  I’m sure we’ve met him before; he’s the sun god known to the Victorians and thence to Hollywood producers as Ra, but to most Egyptologists as Re.  We’ll come back to him some other time.

Let’s look at the hieroglyphs.  The first one looks like an egg, you draw it like an egg and by golly it is an egg – a goose egg, in fact.  Here’s a picture of one, in case you don’t know what an egg looks like:

The egg  symbol in this case writes the word s3, sa, son.  Just draw it at an angle, pointing the sharp end towards the beginning of the sentence.  The second hieroglyph, a circle with a dot in it, is the standard hieroglyph for the sun and encapsulates the name of the god Rc, Ra, Re.  (It’s also possible that the mysterious and superfluous circle in the name of the god which we saw in the last post is an abortive attempt at a sun disk, as there was a word shu meaning sun.)  If you don’t know what the sun looks like, here it is:

There’s no dot in the middle that I can see, and I’m not sure what that was about.  But if the chairman’s son says the sun has a dot in the middle, it’s probably not a good idea to disagree.

February 24, 2010

What Kind of God Do you Think You Are? Shu (2)

Now we’ve perused Shu’s biography and CV, let’s take a closer look at his name and title.  Here he is in close-up, with his nameplate in front of him:

The hieroglyphs are quite cursive or simplified, but they are still (mostly)recognisable.  This group spells the god’s name:

 

We haven’t had Shu’s tall, curling ostrich feather hieroglyph before.  Here’s a real one:

The feather hieroglyph is a biliteral, and was pronounced shu.  Old Office Hieroglyphs hands will spot that the quail chick hieroglyph, which we have seen before, is only reinforcing the -w sound.

I must confess that I am not entirely certain what the round sign between the feather and the chick on the papyrus may be.  Some of the ink has been lost at this spot, as you can see from the fading of the baseline on which the chick stands, compared with other chicks in the same papyrus.  There’s no real need for a hieroglyph here at all.  It may be that the scribe was attracted by Shu’s association with sunlight to put in this determinative of the rays of the sun:

  It does look as though there’s the beginning of some kind of addition to the circle (if it is a circle) on the right hand side. 

If it is just a circle, then the scribe may have put it in because he was thinking of a similar word, seshu,  meaning ring, and put the ring hieroglyph in as well. 

Or then again, maybe not.  If anyone has any suggestions – or knows what it is – please let me know.

We’ll look at his title next time.

February 23, 2010

What Kind of God Do You Think You Are? Shu (1)

Moving along the portrait gallery in the boardroom corridor of the gods, we come next to a family group.  Here they are:

Atum, the creator of the world, founder of the family firm known as the Nine Gods or Ennead, and his twin offspring, his son Shu and his daughter Tefnut.  That’s Atum at the front, but you know that because you can read his name in hieroglyphs in front of him.  The scribe who wrote this papyrus has stuck an extra hieroglyph in at the end – the quail chick which, as we know from Osiris’ titulary was pronounced w, making him (A)tmu, but that won’t have fooled you.  Nor will the rather stick-figure version of the seated god determinative.  You can still see his beard sticking out and his knees sticking up.  That’s Atum, all right, and in any case he’s wearing the double crown of the Kings of Upper and Lower Egypt.

That’s Shu sitting right behind him.  We’ll take a look at his name later.  Let me tell you a bit about him, first. We already know that he is the motherless product of self-assisted conception.  There is another story about his origins, though.  Some priests and scribes put it about that Atum sneezed him into existence – more of an atchoo! than a Shu.  Indeed, the name Shu is closely related to the Egyptian word for a sneeze.  So, basically, according to some people at the time, Shu grew out of a bit of snot.  But hasn’t he done well?  Some people prefer to translate the name as “he who rises up”.

Shu was both Atum’s heir and his air.  Having made the earth rise up and separate from the water, Atum decided he needed to let some air into the place.  He created Shu to be the god of air.  It’s difficult to draw air, so the ancient Egyptians represented it by drawing a feather, and a glamorous ostrich plume (or two or three or four) was Shu’s favourite headdress.  He’s wearing it in this picture.  Snot with feathers on.  If that reminds you of any of your non-executive directors, who am I to argue?  You be the judge.

You may think that an air god must have been a pretty insubstantial character, but Shu’s very flimsiness was at the same time his greatest asset.  He represented the space between earth and sky (we’ll come back to this later) which let the sun shine in.  One of the reasons that Atum created Shu was so that he could see all the other things he’d created.

Because he had this important role in channeling the sun, Shu was a close associate of the sun god in his various forms.  One of his responsibilities was to bring the sun to life every morning, and, like his Dad Atum, he did his bit to protect the sun from attack by the serpent Apophis. As the air god, it was Shu who enabled the solar barque to rise up and sail across the sky.

Shu was certainly the light of Atum’s life.  Atum was very proud of his son.  To him, Shu was life itself, and it was only after Shu was born that Atum truly found his voice and began to speak and have a dialogue with the universe.  Shu was therefore a very powerful driver of Atum’s creative enterprise, his reason to carry on. 

Atum even took the lad into the firm and, in due course, when the staff complement had grown a bit, sent him on errands, sorting out problems with the other gods.  Shu was an obvious choice for this kind of work; as the air god, he was everywhere at once and knew where everyone else was, so didn’t actually have to go anywhere.  However, some of these tasks were pretty stretching, and Shu did not always manage to carry them out.  His Dad tended to send him to find goddesses who’d run away or got lost, and talk them into coming back.  When it was a particularly aggressive goddess who’d gone on the rampage, got drunk and run away, for example, he wasn’t quite up to the job.

Nevertheless, Shu rose steadily up the ranks of the administration of his father’s new enterprise, and was credited with instituting the capital cities of the administration.  In due course, the old man decided he was going to retire, and handed over his throne to Shu.  Atum did not leave the company; he stayed around and kept an eye on it, but Shu was now running the show. 

Shu’s term in the Managing Director’s chair started in peace, as Atum’s whole term of office had been.  At some point, though – and this episode of company history is pretty obscure – hostile forces from the edge of creation tried to lead a revolution.  Shu’s divine palace on earth was sacked by the enemy, as though a whole lot of enraged graphic designers had trashed the top floor corner office.  Shu had to bring them to heel and kick them out.

This episode shows that Shu was not all sweetness and light.  In fact, there are scenes of the netherworld which show him as the gangmaster of a band of torturers threatening the deceased person in a fiery region of hell from which there is no escape.  But then, if you’re toiling away in the boiler room in the company basement, that may well be how you regard one or more of your board members.

Finally, Shu seems to have had a reputation for being able to relieve himself with ease.  For the Egyptians, being able to defecate like Shu was a highly desirable quality.  Excrement and the air god; the original stuff that hit the fan.

February 19, 2010

What Kind of God Do You Think You Are? Atum (7)

Lord of the Sacred Land.  As Atum was the god who made the first land rise from the waters of the primeval ocean, and as he was the only god around to lord it at the time, the title is no more than his due.  Here it is, the last in the sequence of titles in this inscription:

 

Nb t3 dsr  neb ta djeser  Lord of the Sacred Land

Our old friend neb, Lord, is such an old friend it needs no introduction. 

Ta, land, we’ve also had before, in tawy, the Two Lands of ancient Egypt.  It was written in an abbreviated form in that example.  Here it’s written out more fully,

with the strip of mud bank sign we’ve had before – which is the bit pronounced ta –  followed by a single stroke and another sign.  Neither of these two signs is pronounced; they are both determinatives to give the reader a clue about the type of word this is.  The single short stroke indicates that the ta sign is to be taken literally – it is the word for land, not a different word which sounds like the word for land. 

The third sign is – wait for it – another bit of land! It’s easy to draw; one short straight side and the two long sides come together in a curve, not an angle – just like a tongue.  This particular hieroglyph is a spit or tongue of land, like this one:

What they really want to emphasise here with these three hieroglyphs is that this is the word for land.  Land, land, land.  Not water.  Not air. Land.  Have you got that? Good.  (They also want to fill an awkward space at the bottom of the column.)

Dsr, djeser, sacred, by contrast, fills the last remaining space very nicely on its own:

It’s an arm holding a certain type of ritual implement, a kind of wand.  If you draw an arm holding an ice cream cone, one of those soft ones that extrude from a nozzle (yum) you won’t go far wrong.  Stop short of the raspberry sauce and the chocolate flake, though.  That would just be ridiculous – or maybe that’s a good reason to write them in someone’s card.  You decide.  (Come to think of it, the arm does look as though Atum, the divine ice cream man, is leaning out of the serving hatch of the ice cream van … )

I have tried hard and failed to find a picture of an actual wand of this type for you, so here is at least a picture of a more colourful version of the hieroglyph, in the cartouche of King (Djeserkheprure Setepenre) Horemheb (Merenamun):

If anyone does have a picture of the wand, I’d love to have it for the blog.

So we’ve come to the end of Atum’s career as founder of the universe and the titles he acquired on the way. In the next post, it will be time to look at the contribution of the next generation; Atum’s twin offspring, Shu and Tefnut.

February 15, 2010

What Kind of God Do You Think You Are? Atum (6)

We’re recycling again.  Atum’s next title is one we’ve had earlier, in Office Hieroglyphs, when it was being used by Osiris.  This is what it looked like the first time:

      , netjer aa, the Great God; an economical use of two hieroglyphs to spell two whole words. 

This time around, in Atum’s titulary, the spelling has expanded a bit.  This is what it looks like now:

 

     netjer, god, is written with the flagstaff hieroglyph which you’ll remember from before, plus the seated god determinative we saw earlier in this inscription. 

 aa, great, is difficult to see because it’s partly flaked off, but when you know what’s there, you can pick out the traces.  The wooden column which was written vertically in Osiris’ titulary is horizontal in Atum’s.  You can see the line of the upper edge, but the lower edge has disappeared.  You’ll have to imagine the mirror image of the visible edge reflected in the gap below it. 

The sign underneath is a new one, though; it’s this:

 a sheet of papyrus, rolled into a scroll, tied up and sealed, like this one:

 It’s a determinative often used for abstract words.  It’s easy to draw:  a thin rectangle with a little w on top.  And it’s versatile; like the wooden pillar aa, you can draw it vertically or horizontally, to suit the artistic balance of your own inscription.

It’s up to you whether you think your colleague is a great enough god to warrant the fuller version of the title; or whether you think they’re better represented by something short and flaky.

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