| The Blessings of Hathor |
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'Blue lidded daughter of the dawn, golden lady of the mountains, carrier of her father's wisdom, let an old man rest in your arms. Let him look at last on love's face, breathing love's breath. I live in light a million years. The sun rises or sets now - it matters not. Here is ecstasy in death and certainty in life. We are gods in the body of god, truth and love our destinies. Go then and make of the world something beautiful, set up a light in the darkness.' Hymn to Hathor Hathor's individuality is often overlooked. Her significance has been overshadowed by the glorious Isis who has come to embody all that is Egyptian for us. This balance is redressed as soon as we begin to explore her historical cult and status for we find a goddess of great antiquity and importance. Though we still have an incomplete historical picture of Hathor's influence, we have more than enough information to show us a goddess of great complexity and depth. The gaps in our knowledge merely serve to tantalise us further. What was the nature of her sacred marriage to Horus? What was her relationship to the throne? What was her relationship to the solar god Re and the ancient goddess Neith? How were her Mysteries celebrated? What duties and obligations devolved upon her priestesses? How was this predominantly female priesthood organized?  The Narmer Palette In Hathor we find transcendence. She expresses the polarities of human existence. She expresses the cosmic and the earthly. Yet her presence is accessible through the simplest of human activities, dance and song. She demands no obscure philosophical stance, she seeks no abstruse theological rationale. She expresses the joy found deep in the human heart. Perhaps this is her simple secret. Joy is the cosmic heartbeat. She is truly a great goddess.
 As one of the great goddesses, Hathor enjoys diverse attributes and functions. She is the mother sky goddess, her son is the sun. She is called mistress of the sky, queen of the stars, mistress of the stars. She appears on the Palette of Narmer as a cow head figure with starry horns. This starry identification renders her a cosmic divinity like Isis and Nut. As goddess of the nocturnal sky, she is also the receiver of the dead for the night sky was thought of as the netherworld. I am Hathor, mistress of the northern sky. The wings of the sky-doors will be opened for thy beauty.  Her functions as nursing mother were stylized into ritual jars with spouting breasts.  Her familiar bovine characteristics were probably absorbed from an earlier cult of the goddess Bat who was completely eclipsed by the time of New Kingdom. Her name derives from the feminine form of ba meaning soul. Strikingly her sign was the ears and horns of a cow. The cult of Hathor is an ancient one. She is indeed one of the ancient Egyptian goddesses. The Palermo Stone mentions that offerings were made to Hathor by fifth dynasty kings. Hathor had her own temples at Memphis at Thebes among other places. She also shared a place in the temples of other key divinities. She had a chapel on the island of Philae in the lovely temple of Isis. She had a place in the temple of Ptah at Karnak and had her own shrine within Hatshepsut's funerary temple. Her worship extended beyond Egypt into Syria, the Sinai peninsula and Nubia. Her sanctuaries were widespread. She was worshipped at five main centres and another nine centres of less importance. One of Hathor's temples has survived in tact. Hathor's remaining temple stands at Denderah, capital of the sixth nome. It was uncovered only in the middle of the last century and was doubtless preserved by its desert burial. In its present form the temple is largely Ptolemaic.  Earlier temples were constructed and rebuilt in the 4th dynasty and the 6th dynasties. According to a crypt inscription, the temple was founded in the ancient almost mythical period dated to the Followers of Horus. This was a common way of attributing great age and therefore great importance to a temple. The temple was known as the Mansion of the Sistrum and the House of Hathor. Hathor herself was known as the Lady of Denderah. It stands today in good order. We need only invoke the powers of the imagination to make the temple live again. There was once a sacred lake and wild cows sacred to Hathor were tended here. There were once three encircling walls and a number of out-buildings including the mammesi, the birth house. The temple will serve as our entry point in Hathor's mysteries. Its architecture reveals cult practice, its inscriptions instruct us. The temple at Denderah is our source book. We do not approach the temple as archaeologists nor Egyptologists but as students of the Mysteries. The temple may have been closed for thousands of years but the Mysteries of Hathor are still accessible.  The architectural style is of this temple is typical of the Egyptian tradition. The open courtyard leads into the first hypostyle. The walls and columns are decorated with offering scenes. The ceiling, once blue, shows the journey of the sun and moon and the zodiacal constellations. The second hypostyle hall is considerably smaller. It too is decorated with offering scenes. Six chapels, three on each side lead from this hall, the Hall of Appearance. These six chambers were used for practical purposes. Incenses, perfumes, ointments, oils and unguents were prepared in the Incense Room. The Harvest Room depicts the cultic calendar and depicts scenes related to it. The third chapel on the eastern side served as a passageway into a deeper interior hall. On the western side, water was brought from the sacred well into through the Libations Room, or Room of the Nile. The Silver Room or Treasury, housed treasures and valuable goods. This pattern is repeated deeper in the temple. Practical side chambers serve central halls. The central halls which lead one into another, finally culminate in the Holy of Holies, the Sanctuary, known also as the Great Seat. Here is 'the dwelling place of the Golden One.' The sunlight is far away. Hathor is here. She is present through her cult statue. Only the pharaoh or his representative may gaze upon her face in adoration. The sanctuary is to be found in almost total darkness. It is the heart of the temple.
The Great Seat is surrounded on three sides by a processional corridor which opens onto a number of further chapels. Each serves a specialized purpose. Each bears an extraordinary evocative title in keeping with the Egyptian love of words. In truth we do not fully understand the cultic intentions expressed here. Here is the Resurrection Room, the place of renewal. Ptah-Ta-Tenen, one of the ancient creator gods is here. Here the Birth Room depicts the birth of Isis. A festival, 'the beautiful day of the night of the child in the cradle' was celebrated to commemorate the fourth intercalary day. We know nothing about such secret celebrations. In the next chapel, the Sokar Room, scenes represent the resurrection of the god and his association with Un-neffer, that is Osiris. Sokar is the god of the dead associated with Memphis. In the room dedicated to the Union of the Two Lands, we see the birth of Hor-Sma-Towy, Harsomtus, son of Hathor. the Uniter of the Two Lands. In the Room of the Sistrum, scenes show the sistrum being presented. This room had some connections with the chapel on the roof. The chapel dedicated to Lower Egypt called The Flame Room, the Pr-Nu, and chamber of Wadjet, was home to Hathor's traveling shrine, the sacred barque which voyaged to Edfu. This room also had connections with the fiery protective aspect of the goddess as Sekhmet-Hathor. The next chapel, the Throne Room of Re, also had connections with the goddess in her fearsome solar aspect. In the Purification Room, the priesthood undertook ritual purification. Finally the New Year's Room or Chapel of Nut, housed the statues connected with the annual festival. This room was also connected to the young Ihy, son of Hathor. 
An upstairs chamber houses the now famous zodiac ceiling.
We cannot but wonder how this was used by the priesthood. We know that the priesthood was interested on the stars in relation to the maintenance of the calendar. A downstairs chamber points to a greater mystery. Twelve crypts were built into the walls and foundations of the rear and side wall, 'whose content no stranger knows, whose doors are concealed.' These chambers were hidden with great care, entrances were concealed by moveable slabs. The walls are covered with beautiful reliefs depicting the resurrection of Osiris. We cannot but wonder how such crypts were used and what meaning they held. It is probably significant that these crypts were built beneath and around the sanctuary area. As students of the mysteries we should recognize the characteristics of the place of rebirth.
We have already learned a great deal about Hathor from her house. The Mansion of the sistrum was indeed Hathor's house. It was her dwelling place; just as surely as you live in your house Hathor was felt to dwell in hers. Her presence was immanent in the cult statue. Her face was seen only by the pharaoh or his representative but her presence was not confined to her image.
As you may receive wanted visitors in the privacy of your own home, Hathor received her guests during festivals when the doors of the courtyard were opened. Hathor's festivals were always joyous. As goddess of dance music and song, Her festivals are celebrations of life, wine was plentiful, drunkenness a joyous duty. This was the time to be freed from anger like Hathor herself whose rage was cooled by red beer. At the Festival of Plucking Papyrus, the day was spent among the papyrus groves picking papyrus heads ready to give to a lady love. The rustling papyrus symbolized the renewal of life. No doubt beer too was drunk on this festival day too.
 During the ritual Hathor received various gifts including eight crowns from the gods of Hermopolis, pectorals, necklaces, ointments, perfumes, coloured cloths and offerings of food. Led by the king, the priesthood carried her image up the staircase into the sunlight for the union of Hathor and Re. As they walked in procession, they sang How beautitul is your passage Living one of the horizon when you glide through the air in joy Hathor, Lady of Denderah, Eye of Re, Lady of the sky, sovereign of the gods. Sunlight shone upon the image, 'She unites her rays with those of her father in the horizon.' This meeting of lights was believed to establish harmony throughout the temple and to imbue her with vital life, probably because her essence was normally confined to the semi-darkness of the Holy of Holies. The festival of Re was celebrated to coincide with the rising of the Nile at the New Year's Festival on I Thoth. Hathor was called, 'the ruler over Sirius, the great one who makes Hapi come.' These encounters with Horus and Re highlight Hathor's solar identity. She is the sun-eye. She is also called the Golden One. The hieroglyph for gold symbolizes the perfected state of being. The pharaoh as the living Horus, takes the name,'Horus of Gold' to symbolize this identity. Hathor's cult developed powerful solar connections. During Dynasty V, the cults of Re and Hathor are known to have co-existed in the Heliopolitan sun temples. Hathor was worshipped in the sun temples of three kings. There were 2 priests of Re-Hathor and 13 people held priestly titles connected with both divinities. Though a solar goddess is not unique, it is unusual and makes Hathor especially interesting.  As the sun-eye sent forth from Re to chastise mankind. In her solar guise Hathor is identified with both Sekhmet and Tefnut the lioness. A hymn commemorates this aspect. Worship Hathor, the lady of Denderah, in all lands, For she is the mistress of fear. Worship Hathor, the lady of Denderah in all lands, For she despatches the gods of vengeance against the foe, We cannot evaluate Hathor's function without reference to other significant divinities. Her temple included two Osiris chapels on the roof. Astronomical themes in the hypostyle hall depict Nut as goddess of the sky and Geb as earth god. Her cult was intertwined with another cosmic divinity Neith. Though we know little enough of this cultic relationship we know that during the Old Kindgom, some priestesses of Hathor were also priestesses of Neith. Cult titles make this relationship very clear: 'Possessor of reverence with Hathor, Mistress of the Sycamore, Mistress of Denderah, Priestess of Neith Opener of ways' and 'Priestess of Hathor, possesessor of reverance with the great god, Priestess of Neith, Priestess of Hathor, Mistress of Denderah.'  Hathor was also connected to the god Min. As god of earthly fertility, Min was represented in ipthyphallic form and also as a white bull. Representing the celestial power of the heavenly Horus, Min was represented by a ceremonial sky a pole, the axis mundi. A sky pole was worshipped at Kusae and probably at another temple of Hathor's in the tenth nome which had special connections to the celestial Min. Hathor was also related to the greator god Ptah of Memphis. It appears that these two divinities were jointly worshipped at Memphis, Medinet Habu and in the Sinai. Hathor also assimilated and shared the functions of other goddesses. She is addressed as Maat and shares the title, 'Queen of writing' with Seshat, goddess of books. Like Nut she is a cosmic mother to the dead. Of course she is intimately connected with both Isis and Nephthys. It is a mistake to see Hathor's cult as a ministry for women, though she was served by women and answered their needs in matters such as love childbirth and fertility. Her cult was a mainstay of the Egyptian nation and its identity. It is clear from the iconograpohy at Denderah that Hathor enjoyed a special relationship to the pharaoh. The pharaoh called himself the oldest son of Hathor. On occasion, the king wears a ceremonial apron ornamented with Hathor heads. Hatshepsut, the female Horus was a special devotee of Hathor. Hathoric imagery abounds at her funerary temple, 'I am thy mother who formed thy limbs and created thy beauty.' Hathor assists at the royal birth and suckles the child. In the city of Apis, the high priestess carried the title, 'she who gives suck.' Only through divine milk might the young prince becomes a true king. The mammesi, the birth house at Denderah shows Hathor suckling the infant king. Here the divinity of the king was told, it was not as is now commonly stated, a birthing room for mortals. Hathor as mother also guards the king for the rest of his life. The function may even lie at the root of our fairy tale of Sleeping Beauty for Hathor was invoked at the royal birth to give oracle and protect the fate of the king, to fail to invite her was to court disaster. Hathor is present at vital cultic performances. She is represented at the Heb-sed, the festival renewing of the king's priestly dignity. Hathor attends the erection of the djed pillar and is depicted standing behind the Pharaoh. The king himself makes offerings to Hathor. At Denderah he offers a mirror. Reliefs depicting the preliminary festivals for the Heb-sed of Amenhotep 111, reveals an extraordinary Hathoric influence; princesses shake sistrums, they wear the menat and carry gazelle shaped wands. Female acrobatic dancers and musicians perform before the baldachin. A hymn to Hathor is inscribed and Hathor is enthroned behind the king occupying the seat normally given to the queen. This is suggestive of a cult identification between Hathor, mother of the king and the king's consort. It has been suggested that her presence here is again symbolic of the sacred marriage between the king and his mother goddess. This union was designed to ensure his symbolic rebirth. We cannot really gain a full picture of temple life. The heart of this life lay in the unrecorded moments of realization, revelation, contemplation and adoration. We can only observe and describe the routine and the rituals. We can only guess the feelings and intentions of this who followed in this tradition century after century. The full inner life of the temple still evades us. The heart of the priesthood lived as the epiphany of the divinity, exemplifying the special skills, aptitudes and attributes of the divinity. The Neter was made manifest through the cult servants, the various grades of priests and piestesses. Hathor's priesthood is remarkably ancient. Fortunately through the site at Denderah, we know a good deal about the workings of this sacred tradition. Throughout the centuries Hathor was served almost entirely by women. Women held the positions of authority and exercised responsibility through their own hierarchical structure. Men were relatively few in number and held only administrative posts. Authority rested with women office holders who enjoyed considerable status. Various cult titles revealed the area of responsibility. Hathor herself was called Mistress of the Sycamore; Her servants were likewise, Priestess of Hathor, Mistress of the Sycamore having authority in a single sanctuary. Priestess of Hathor in all Her Places carried responsibility throughout all sanctuaries and was answerable only to the Chief Priestess of Hathor in All Her Places. It was common for priestesses of Hathor to hold subsidiary titles: King's Acquaintance, King's Jewel, King's Only Jewel, and King's Noblewoman. These titles clearly indicate close cultic link with the institution of kingship. Inscriptions at Denderah list the cult titles given to each of the High Priests in the 42 nomes or districts of Egypt. The inscription includes both the female and male office holder. The priestess caries the cultic title; she 'who rattles the sistrum in front of him.' It is clear that these women were part of a hierarchical structure of the temple priestesses. The priestesses of Hathor were instantly recognizable. Dressed as the goddess herself with the beaded collar, 'the divine menat' and the sistrum, Her priestesses mediated the Hathoiric qualities. As Hathor was immanent within her cult statue, so she was present within her cult regalia. The menat and sistrum were recognized as manifestations of Hathor herself. Hathor is even depicted as the menat itself. She is described as, 'the possessor of the Menat.' She was calle, the great menat necklace', 'the divine menat necklace,' and at Denderah, she was called, 'the great menat in the house of the menat.'  These emblems bestowed Her priestess with the presence of Hathor herself, priestesses and divinity merged as one. This transcendental merger of priestess and Goddess is clearly depicted at Denderah. In a crypt seven priestesses are depicted in the human guise of Hathor. In the hypostyle hall of the mammesi at Denderah, 21 priestesses can be seen in human guise either carrying tambourine or sistra. Each figure represents and impersonates Hathor. Each figure is to be identified as Hathor.  Through the Ritual Presentation of Emblems, the priestess took on her divine mantle. This was the ritual interchange of identities. Hathor herself transmitted the essence of her own divinity to her sacred ornaments and actually became those ornaments as they became her. The divine essence of the goddess merged with the priestess. This identification was utterly complete; priestesses were called Hathors. It is no wonder then that these priestesses were greeted with such jubilation by assembled crowds at festival time. These musician priestesses processed through the streets offering the extended menat to confer the blessing of life, stability and happiness upon eager and devoted crowds. Egyptologists have too often misunderstood the true significance of the musician -priestesses. Rattling the sistrum, song and dance combined to create states of ecstasy when Hathor took possession of Her daughters. Secular society knows nothing of the sacred element in both movement and sound nor of priestesses schooled into the subtle interconnections between sound, movement and the subtle energies of life, sacred dance is invocation. What subtle mysteries have been entirely forgotten? We should not underestimate the dynamic potency of movement, dance and song. We laud thee with delightful songs, Thou art the mistress of jubilation, the queen of the dance, The mistress of music, the queen of the harp-playing, The lady of the choral dance, the queen of wreath weaving, The mistress of inebriety without end. Hathor was a unique patron of dance and song. She was mistress of the dance, the queen of happiness. mistress of inebriety, of jubilation and of music. Her son Ihy was the divine dancer. Dance was held in high value. Sacred dance was performed in situations outside our present norm for we dance primarily for social pleasure and entertainment. Danced were performed to honour the gods, at festivals but also at funerals to increase the vitality of the deceased. Under the guardianship of Hathor, dance took place at the Beautiful Festival of the Desert Valley. Acrobatic dance is even depicted in tombs. Dances were performed at state ceremonials and for fertility. At Denderah certain dances were performed at night by priestesses entranced by wine. Images of the divinities were welcomed with dance. Even the pharaoh dances for Hathor. The pharaoh comes to dance, He comes to sing for thee, O, mistress see how he dances O, bride of Horus see how he skips. We may approach Hathor's mysteries through an understanding of Netzach for Hathor supremely embodies these qualities. The spiritual experience of this Sephiroth is the Vision of Beauty Triumphant. A hymn speaks of the epiphany of her beauty.' She is described as the beautiful, the lovely one, who stands at the head of the house of the beautiful.' To see Hathor through Her epiphany, the priestess, is to glimpse the quality of eternal beauty. Her priestesses were called the Beauteous Ones. The Vice of Netzach is Unchastity or Lust which is entirely selfish. Hathor's energies are sensual, She is indeed the goddess of love, 'Exalted is Hathor, goddess of love.' She is the goddess of fertility, the one who makes the plants germinate. Her image was even carried into the fields as, 'the possessor of abundance,' and the bringer of fertility. Thou honourest, the great god in medinet habu, And thy wives praise hathor, the mistress of the fort of the west. In order that the goddess has your wives Bear sons and daughters So that they may not be barren And you may not be impotent. In her aspect as patroness of love, Hathor, was identified with Aphrodite by the Greeks and is the counterpart of Venus. Yet if we limit Her to the goddess of mere sexuality, we miss the true mysteries of this Sephiroth and of Hathor herself. Hathor initiates into the subtle polarities of magnetic energies. Netzach invites us to explore the Shiva-Shakti polarity. As wearer of the raised serpent, Hathor initiates into the serpent power. It is the ultimate energy of personal transformation. The Qabalistic symbols of girdle and lamp unite sexuality and the sacred. The menat and sistrum likewise unite the sacred and the sensuous into an indivisible unity. The sistrum represents life being derived from the rustling sound of ripe papyrus. The menat as an epiphany brings the divine into the eveyday. These mysteries take us into the heart of the Feminine as muse, awakener and cosmic consort. As embodiment of the beautiful, she is muse. As goddess of love she is the awakener. As star goddess she carries consciousness to cosmic levels. As the, 'controller of mountains, the eminent, possessor of precious stones,’ Hathor presides over precious stones, minerals and crystals. Hathor’s realm is to be found in the elements of life that we have discarded. Her realm is that of the emotions and the exaltation of the senses through beauty and raised consciousness. She reminds us of the life affirming power of dance and sound.Our quest for the rational and the intellectual has created a mindset dominated by notions of separation. But at last we too have become so sickened by this fragmentation and the tide has begun to turn. The Egyptians were never deceived into elevating the rational mind above all else. The beautiful was as important as the rational. The ka was nourished by beauty expressed through sacred sound and gesture. Movement and sound had a secret power of itself. These too were expressions of the divine principles. Goddess and priestess as one bestowed joy, beauty and grace, divine rapture and bliss. Sacred dancers was not designed to entertain or amuse but to evoke particular cosmic principles. Sacred beauty has been destroyed and defiled along with the destruction of pleasure and hatred of the body. The Egytptian word for worship specifically implies the establishment of a relationship between object and subject, Neter and participant. It is an interaction of identification and assimilation between the participant and the Neter. This process is at the heart of the Mysteries. The word sheta means mystery. In it's daily usage it means, 'hidden', 'concealed', or 'unprecedented'. In its religious context it means a truly religious secret. The word, djeser, is usually translated as 'magnificent' and 'exalted'. However it too has an additional meaning. It means, 'secluded', 'inaccessible' or 'hidden.’ Finally the verb bes means, 'to usher in' or, 'to enter', in other words, 'to initiate'. This word is used for the investiture of the pharaoh, the installation of a priest and an initiation into the secrets of a cult. It can also be used to refer to the mystery itself. Here are the four words that may take us to the heart of Hathors's Mysteries, the 'religious secrets', the 'secluded, hidden inaccessible, magnificent, exalted experiences.' Let us prepare then to immerse ourselves in the energies of Netzach as we approach the Mysteries of Hathor with reverence, respect and with the anticipation of joy.  The Beauteous Ones - A Guided Visualiation Enter your own state of meditation. You stand among a crowd. There is a great festival atmosphere. Everyone is excited. The hot sun beats down upon you. The east bank of the great river is lined with people as far as the eye can see. You know they will be here soon. A cry goes up. Hands are raised, fingers are point. Excited voices rise. Around the bend of the river comes the flotilla. Long boats sweep along, rowed by strong arms in perfect unison. A drumbeat sounds out a rhythm. The flotilla moves as one being. The crowd fall quiet. The drum beat alone like heart beat sounds out. The flotilla is drawing closer. Now another sound is carried along on the air. Women's voices rise and fall in ripples of sound. Their song is like laughter, their chant is the sound of joy. The flotilla draws closer. Now you hear the rattling of sistrums. The priestess of Hathor are coming. She is coming. Hathor is coming. You heart lifts in expectation. The lead boat now approaches. At the centre you see the veiled shrine. In front of the shrine a small altar stands. Incense rises. The oarsmen rest as the boat glides towards the bank. sistrums rattle and the chanting takes up again. The second and third boats glide into their appointed places. Men from the temple briskly step off and secure the boat to its moorings. Everyone is transfixed by the presence of the boat. All eyes are on it. A woman solitary voce is raised in invocation, the chief priestess stands before the shrine. Two white robed priests offer incense, sistrums rattle. From within the boat a line of priestesses now stand. Guardians of the shrine step forward. Hathor is unveiled. The Golden One as the nurturing cow is revealed. A note of praise is sounded, sistrums rattle in a crescendo of sound. Her shrine is lifted by the temple bearers. She come ashore. Everyone makes way for the procession. The Golden One comes, followed by her servants. You recall everything you have heard about these women, truly they are 'the beauteous ones.' They prepare to come among you, to bring Hathor to you, to show you Hathor herself. From the stern of the boat a harpist strikes up a note. The Hathors are now disembarking, each chanting The sound seems to light an unknown fire within you. The chants rise and falls you find yourself following its irresistible rhythm. You want to dance, to move, to respond. Your heart sings within you. The Hathors are coming. You smell their perfume on the breeze. You hear the sound of their anklets tinkling. They draw closer, they approach in a single line moving as one being. They step and sway with a perfect and easy grace which is as indefinable as it is magnetic. You are mesmerized by the dance. They will dance as they follow the Golden One to the temple on the hill. As they dance the Hathors extend the beaded menat. The crowds and reach out as if to gather up the invisible blessing of Hathor herself. You remember what you have heard about these women. You want to receive this blessing, to comprehend this beauty, to know this extraordinary exhilarating power. You are quite near the front of the crowd. They will be coming past soon. The leading Hathor is just in front of you. You want to drink in her features. You want to remember this moment for ever. She is here. The Hathor is here. Her feet and hand are tiny, her limbs have a grace which you cannot comprehend yet you recognize its indefinable presence. She extends the menat. It seems as if this gesture given just for you. Your eyes meet for just a moment. Yet in that moment you have seen the face of Hathor herself. You reach out to Hathor beseeching her to share her divine joy with you. You touch the menat. Long life, stability and happiness are bestowed. In that split second something within you awakens to life. You offer thanks to Hathor. You have seen her face through her servants You stand in a daze as the procession passes. You hear the sistrums and see the rippling forms passing by as one. You join the procession. You will follow the shrine to the temple on the hill and there you will dance and sing in praise of Hathor and the Beauteous Ones.  Abbreviations JEA Journal of Egyptian Archaeology CAH Cahiers d'Histoire Egyptienne MDAIK Mitteilungen des Deutschen Archaologischen Instituts, Abteilung Kairo BMH Bulletin of the Museum Haaretz CdE Chronique d'Egypt RdE Revue d'Egyptologie Z.A.S Zeitschrift fur Agyptische Sprache und Altertumskunde Arkell A. J. '1958, An Archaic Representation of Hathor.' JEA Vol 44, 5. Akell A. J. &Burgess E. M.1958, 'The Reconstruction of the Hathor Bowl.'JEA 6-11. Bleeker C.J. 1973, Hathor and Thoth, Leiden. Christophe L. A.1955, 'Les Fetes Agraires du Calendrier d'Hathor a Edfou.' CAH, 35-42. Daumas F. 1969, 'Les Propylees du Temple d'Hathor a Philae et le Culte de la Deesse', ZAS 95.1-17. Fischer H.G. 1968, Denderah in the Third Millenium B.C. New York. Fraser P. 1956, 'A .Temple of Hathor at Kusae' JEA 42. 97-8. Galvin M. 1984, 'The Hereditary Status of the Titles of the Cult of Hathor.' JEA 70. 42-9. Galvin M. 1981, 'The Priestesses of Hathor in the Old Kingdom and First Intermediate 5Period.' Phd Dissertation Brandeis University, University Microfilm International no. 8126877. Giveon, R.1972, 'Le Temple du Hathor a Serabit-el-Khadim' Archeologia 44. 64-9. Hickmann H. 1954, 'La Menat.' Kemi 13. 99-102. Kertesz T. 1976. 'The Breaking of Offerings in the Cult of Hathor' Tel Aviv 3. 134-6. Montet P. 1957, 'Hathor et les Papyrus.' Kemi 14.102-8. Rothenberg B. 1969, 'An Egyptian Temple of Hathor discovered in the Southern Arabah (Israel) B.M H. 12. 28 -35. Sourouzian H. 1983, 'Un Chapelle Rupestre de Merenptah dediee a la Deesse Hathor, , maitress d' Akhouy .' MDAIK 39. 207-23. Tefnin R. 1975, 'La Chapelle d' Hathor du temple d' Hatshepsut a Deir el Bahri.' CdE 50. 136-50. Vandier J. 1964-1966, 'Iousaas et Nebet-Hetepet.' RDE 16. 55-146; 17. 89-176;18. 67-142. 1969, 'Un groupe du Louvre representant la deesse Hathor sous quartre de ses aspects.' Melanges de l'Universite Saint-Joseph 45. 159-83. Wente E. F. 1969, 'Hathor at the Jubilee', Studies in Ancient Oriental Civilisation 83-91. Wysocki Z.1985, 'The Temple of Queen Hatshesut at Deir el Bahri.' MDAIK 41. 293-307.  References
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