“The first historical document in the world”: what exactly is on the Narmer Palette?

Next, the carved reliefs represent the earliest-known depictions of both Egyptian kingship and of the style of art now so synonymous with the civilisation. From its visualisation of the human form to how different elements of an image are placed and sized, early artefacts like this one established the artistic template used throughout the dynastic period over three millennia.

What is the Narmer Palette?

Measuring 64 by 42cm and made of flat grey-green siltstone, the Narmer Palette was, as the name suggests, a ceremonial palette resembling the kind that most Egyptians kept in their homes to make their cosmetics. They did so by mixing and grinding coloured minerals and oils together before applying the result to the skin.

Makeup held not only aesthetic significance in ancient Egypt, but spiritual. Beauty was a sign of holiness, so the meaning of using ceremonial palettes like this one to depict something important, kingly even, would be widely understood.

When was the Narmer Palette found?

British archaeologists James Quibell and Frederick Green unearthed the Narmer Palette in near-perfect condition during their 1897-98 excavations.

They were digging in the temple of Horus in Nekhen (or Hierakonpolis), which used to be the political and religious heart of Upper Egypt, when they came across an impressive cache of objects.

This ‘Main Deposit’ had been ritually buried and included hundreds of artefacts, including statues, ivories, and the so-called Narmer Macehead – a decorative stone mace head.

Who is depicted on the Narmer Palette?

The Narmer who is thought to be depicted on the palette was a pharaoh in the earliest days of the dynastic period, credited with the unification of Upper and Lower Egypt around 3200–2900 BC.

Both sides of the Narmer Palette are decorated to celebrate his deeds. His name appears in a serekh (a square cartouche) at the top, in between bovine heads that may represent the goddess Bat or Hathor.

• Read more | Egyptian pharaohs: your essential guide to Egypt’s ancient rulers

On the Recto side, an oversized Narmer wears the white crown of Upper Egypt as he prepares to smite an enemy with a mace. His sandal bearer stands nearby, while the falcon god Horus stands on papyrus flowers (a symbol of Lower Egypt) and holds another prisoner with a rope.

The Verso side is busier: the king, in the top-left corner, is again accompanied by his sandal bearer, but this time wears the red crown of Lower Egypt.

Ahead of a procession of standard bearers are lines of decapitated and castrated prisoners. What draws the eye most on the Verso side, however, are two mythical creatures – serpopards, lepoard-like animals with serpentine necks – with their necks entwined and held by attendants. At the bottom, Narmer is seen as a bull trampling an enemy and destroying a fort.

The use of both crowns, and possibly even the joining of the serpopards, may symbolise the unification. But it has been suggested the reliefs were not intended to honour a literal deed by Narmer, whether he even succeeded in uniting the kingdoms or not.

Instead, the palette could represent a metaphorical bringing together of all lands and cosmos under the power of king. Through him, there was the balance of order, or ma’at to the Egyptians.