ng erect, he is wearing a united crown, which is a combination of the white crown of upper Egypt and the red crown of lower Egypt, and with arms outward he is holding some type vessel. On Akenatens right or backside is a slightly smaller Nefertitti, once again showing hierarchic scale. In this representation, the focal point once again is paying homage to the deity, and with Nefertti at his side it shows the strong relationship with his family. Another good example of this period is found in our textbook, "Akenaten and His Family." In this monument Akenaten is shown with his family playing, while the ever-present Aten, shining above them. Again Akenaten is represented with the unified headdress, and all the identifying characteristic given to him, such as the elongated neck, pot belly, ect Some of Atens rays with the ankh symbols are pointing towards Akenaten and Nefertittis' nostrils, which depicts the "breath of life." Again Akenaten wearing the unified crown and in this piece, it also gives us the assumption that Nefertitti might have co-ruled with Akenaten because of the symbols on her throne, the papyrus stalks and a bird, which is the unified symbol of upper and lower Egypt. Again Akenaten is with his family, now it's the whole family, which stresses the importance of family. The representation of the figures is again in this Armana style and now holds true to all the subjects. In all of theses examples including "Fragment of a Wall Relief," the Armana ideals are carried throughout. One thing I noticed, it seems that in all the monuments the hieroglyphics are placed strategically to balance out the scene. Along with this I noticed in both "Fragment of a Wall Relief" and "Akenaten and His family," they both had a vertical band of hieroglyphs running along the right hand side, both maybe creating space. All three of these monuments carry out Akenatens wishes by conveying Akenatens and his family's relationship to the go...
