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Senjō no Valkyria 3 : Unrecorded Chronicles ( Japanese : 戦場のヴァルキュリア3 , lit . Valkyria of the Battlefield 3 ) , commonly referred to as Valkyria Chronicles III outside Japan , is a tactical role @-@ playing video game developed by Sega and Media.Vision for the PlayStation Portable . Released in January 2011 in Japan , it is the third game in the Valkyria series . Employing the same fusion of tactical and real @-@ time gameplay as its predecessors , the story runs parallel to the first game and follows the " Nameless " , a penal military unit serving the nation of Gallia during the Second Europan War perform secret black operations and are pitted against the Imperial unit " Calamaty Raven " . | 0 | 1 |
As with previous Valkyira Chronicles games , Valkyria Chronicles III is a tactical role @-@ playing game where players take control of a military unit and take part in missions against enemy forces . Stories are told through comic book @-@ like panels with animated character portraits , with characters speaking partially through voiced speech bubbles and partially through unvoiced text . The player progresses through a series of linear missions , gradually unlocked as maps can be freely scanned through and replayed as they are unlocked . The route to each story location on the map varies depending on an individual player 's approach : when one option is selected , the other is sealed off to the player . Outside missions , the player characters rest in a camp , where units can be customized and character growth occurs . Alongside the main story missions are character @-@ specific sub missions relating to different squad members . After the game 's completion , additional episodes are unlocked , some of them having a higher difficulty than those found in the rest of the game . There are also love simulation elements related to the game 's two main heroines , although they take a very minor role . | 1 | 1 |
The game 's battle system , the BliTZ system , is carried over directly from Valkyira Chronicles . During missions , players select each unit using a top @-@ down perspective of the battlefield map : once a character is selected , the player moves the character around the battlefield in third @-@ person . A character can only act once per @-@ turn , but characters can be granted multiple turns at the expense of other characters ' turns . Each character has a field and distance of movement limited by their Action Gauge . Up to nine characters can be assigned to a single mission . During gameplay , characters will call out if something happens to them , such as their health points ( HP ) getting low or being knocked out by enemy attacks . Each character has specific " Potentials " , skills unique to each character . They are divided into " Personal Potential " , which are innate skills remain unaltered unless otherwise dictated by the story and can either help or impede a character , and " Battle Potentials " , which are grown throughout the game and always grant boons to a character . To learn Battle Potentials , each character has a unique " Masters Table " , a grid @-@ based skill table can be used to acquire and link different skills . Characters also have Special Abilities grant them temporary boosts on the battlefield : Kurt can activate " Direct Command " and move around the battlefield without depleting his Action Point gauge , the character Reila can shift into her " Valkyria Form " and become invincible , while Imca can target multiple enemy units with her heavy weapon . | 2 | 3 |
The game takes place during the Second Europan War . Gallian Army Squad 422 , also known as " The Nameless " , are a penal military unit composed of criminals , foreign deserters , and military offenders whose real names are erased from the records and thereon officially referred to by numbers . Ordered by the Gallian military to perform the most dangerous missions the Regular Army and Militia will not do , they are nevertheless up to the task , exemplified by their motto , Altaha Abilia , meaning " Always Ready . " The three main characters are No.7 Kurt Irving , an army officer falsely accused of treason wishes to redeem himself ; Ace No.1 Imca , a female Darcsen heavy weapons specialist seeks revenge against the Valkyria destroyed her home ; and No.13 Riela Marcellis , a seemingly jinxed young woman is unknowingly a descendant of the Valkyria . Together with their fellow squad members , these three are tasked to fight against a mysterious Imperial unit known as Calamity Raven , consisting of mostly Darcsen soldiers . | 3 | 5 |
As the Nameless officially do not exist , the upper echelons of the Gallian Army exploit the concept of plausible deniability in order to send them on missions would otherwise make Gallia lose face in the war . While at times this works to their advantage , such as a successful incursion into Imperial territory , other orders cause certain members of the 422nd great distress . One such member , Gusurg , becomes so enraged that he abandons his post and defects into the ranks of Calamity Raven , attached to the ideal of Darcsen independence proposed by their leader , Dahau . At the same time , elements within Gallian Army Command move to erase the Nameless in order to protect their own interests . Hounded by both allies and enemies , and combined with the presence of a traitor within their ranks , the 422nd desperately move to keep themselves alive while at the same time fight to help the Gallian war effort . This continues until the Nameless 's commanding officer , Ramsey Crowe , had been kept under house arrest , is escorted to the capital city of Randgriz in order to present evidence exonerating the weary soldiers and expose the real traitor , the Gallian General had accused Kurt of Treason . | 4 | 3 |
Concept work for Valkyria Chronicles III began after development finished on Valkyria Chronicles II in early 2010 , with full development beginning shortly after this . The director of Valkyria Chronicles II , Takeshi Ozawa , returned to that role for Valkyria Chronicles III . Development work took approximately one year . After the release of Valkyria Chronicles II , the staff took a look at both the popular response for the game and what they wanted to do next for the series . Like its predecessor , Valkyria Chronicles III was developed for PlayStation Portable : this was due to the team wanting to refine the mechanics created for Valkyria Chronicles II , and they had not come up with the " revolutionary " idea would warrant a new entry for the PlayStation 3 . Speaking in an interview , it was stated that the development team considered Valkyria Chronicles III to be the series ' first true sequel : while Valkyria Chronicles II had required a large amount of trial and error during development due to the platform move , the third game gave them a chance to improve upon the best parts of Valkyria Chronicles II due to being on the same platform . In addition to Sega staff from the previous games , development work was also handled by Media.Vision. The original scenario was written Kazuki Yamanobe , while the script was written by Hiroyuki Fujii , Koichi Majima , Kishiko Miyagi , Seiki Nagakawa and Takayuki Shouji . Its story was darker and more somber than that of its predecessor . | 5 | 1 |
The majority of material created for previous games , such as the BLiTZ system and the design of maps , was carried over . Alongside this , improvements were made to the game 's graphics and some elements were expanded , such as map layouts , mission structure , and the number of playable units per mission . A part of this upgrade involved creating unique polygon models for each character 's body . In order to achieve this , the cooperative elements incorporated into the second game were removed , as they took up a large portion of memory space needed for the improvements . They also adjusted the difficulty settings and ease of play so they could appeal to new players while retaining the essential components of the series ' gameplay . The newer systems were decided upon early in development . The character designs were done by Raita Honjou , had worked on the previous Valkyria Chronicles games . When creating the Nameless Squad , Honjou was faced with the same problem he had had during the first game : the military uniforms essentially destroyed character individuality , despite him needing to create unique characters the player could identify while maintaining a sense of reality within the Valkyria Chronicles world . The main color of the Nameless was black . As with the previous Valkyria games , Valkyria Chronicles III used the CANVAS graphics engine . The anime opening was produced by Production I.G. | 6 | 1 |
The music was composed by Hitoshi Sakimoto , had also worked on the previous Valkyria Chronicles games . When he originally heard about the project , he thought it would be a light tone similar to other Valkyria Chronicles games , but found the themes much darker than expected . An early theme he designed around his original vision of the project was rejected . He redid the main theme about seven times through the music production due to this need to reassess the game . The main theme was initially recorded using orchestra , then Sakimoto removed elements such as the guitar and bass , then adjusted the theme using a synthesizer before redoing segments such as the guitar piece on their own before incorporating them into the theme . The rejected main theme was used as a hopeful tune played during the game 's ending . The battle themes were designed around the concept of a " modern battle " divorced from a fantasy scenario by using modern musical instruments , constructed to create a sense of atonality . While Sakimoto was most used to working with synthesized music , he felt that he needed to incorporate live instruments such as orchestra and guitar . The guitar was played by Mitsuhiro Ohta , also arranged several of the later tracks . The game 's opening theme song , " If You Wish for ... " ( もしも君が願うのなら , Moshimo Kimi ga Negauno Nara ) , was sung by Japanese singer May 'n . Its theme was the reason soldiers fought , in particular their wish to protect what was precious to them rather than a sense of responsibility or duty . Its lyrics were written by Seiko Fujibayashi , had worked on May 'n on previous singles . | 7 | 4 |
In September 2010 , a teaser website was revealed by Sega , hinting at a new Valkyria Chronicles game . In its September issue , Famitsu listed that Senjō no Valkyria 3 would be arriving on the PlayStation Portable . Its first public appearance was at the 2010 Tokyo Game Show ( TGS ) , where a demo was made available for journalists and attendees . During the publicity , story details were kept scant so as not to spoil too much for potential players , along with some of its content still being in flux at the time of its reveal . To promote the game and detail the story leading into the game 's events , an episodic Flash visual novel written by Fujii began release in January 2011 . The game was released January 27 , 2011 . During an interview , the development team said that the game had the capacity for downloadable content ( DLC ) , but that no plans were finalized . Multiple DLC maps , featuring additional missions and recruitable characters , were released between February and April 2011 . An expanded edition of the game , Valkyria Chronicles III Extra Edition , released on November 23 , 2011 . Packaged and sold at a lower price than the original , Extra Edition game with seven additional episodes : three new , three chosen by staff from the game 's DLC , and one made available as a pre @-@ order bonus . People also owned the original game could transfer their save data between versions . | 8 | 1 |
PlayStation Official Magazine - UK praised the story 's blurring of Gallia 's moral standing , art style , and most points about its gameplay , positively noting the latter for both its continued quality and the tweaks to balance and content . Its one major criticism were multiple difficulty spikes , something had affected the previous games . Heath Hindman of gaming website PlayStation Lifestyle praised the addition of non @-@ linear elements and improvements or removal of mechanics from Valkyria Chronicles II in addition to praising the returning gameplay style of previous games . He also positively noted the story 's serious tone . Points criticized in the review were recycled elements , awkward cutscenes seemed to include all characters in a scene for no good reason , pacing issues , and occasional problems with the game 's AI . | 9 | 2 |
In a preview of the TGS demo , Ryan Geddes of IGN was left excited as to where the game would go after completing the demo , along with enjoying the improved visuals over Valkyria Chronicles II . Kotaku 's Richard Eisenbeis was highly positive about the game , citing is story as a return to form after Valkyria Chronicles II and its gameplay being the best in the series . His main criticisms were its length and gameplay repetition , along with expressing regret it would not be localized . | 10 | 1 |
Kurt and Riela were featured in the Nintendo 3DS crossover Project X Zone , representing the Valkyria series . Media.Vision would return to the series to develop Valkyria : Azure Revolution , with Ozawa returning as director . Azure Revolution is a role @-@ playing video game for the PlayStation 4 forms the beginning of a new series within the Valkyria franchise . | 11 | 1 |
The building receives its name from its distinct octagonal tower . Besides being the last remaining structure of the original Little Rock Arsenal and one of the oldest buildings in central Arkansas , it was also the birthplace of General Douglas MacArthur , became the supreme commander of US forces in the South Pacific during World War II . It was also the starting place of the Camden Expedition . In 2011 it was named as one of the top 10 attractions in the state of Arkansas by Arkansas.com. | 12 | 1 |
The arsenal was constructed at the request of Governor James Sevier Conway in response to the perceived dangers of frontier life and fears of the many Native Americans were passing through the state on their way to the newly established Oklahoma Territory . Thirty @-@ six acres were appropriated on the outskirts of Little Rock by Major Robert B. Lee of the U.S. Army . The land had been previously used as a racetrack by the local jockey club . John Wormley Walker , a builder for the Federal Government , supervised the construction . Originally $ 14 @,@ 000 was allocated for the construction of the arsenal , but proved inadequate . The budget was later increased to $ 30 @,@ 000 . Work began on the Tower Building in 1840 , and it was the first permanent structure of the arsenal to be built . Being originally constructed to store ammunition , the building was designed with 3 @-@ foot @-@ thick ( 0 @.@ 91 m ) exterior walls . The original plans called for it to be built of stone , however , masonry was used instead . The Arkansas Gazette referred to the structure as " A splendid specimen of masonry " . | 13 | 1 |
This movement is prompted by the feeling pervades the citizens of this State that in the present emergency the arms and munitions of war in the Arsenal should be under the control of the State authorities , in order to their security . This movement , although not authorized by me , has assumed such an aspect that it becomes my duty , as the executive of this Sate , to interpose my official authority to prevent a collision between the people of the State and the Federal troops under your command . I therefore demand in the name of the State the delivery of the possession of the Arsenal and munitions of war under your charge to the State authorities , to be held subject to the action of the convention to be held on the 4th of March next . | 14 | 1 |
On the morning of February 8 , 1861 , Rector and Totten signed an agreement placing the arsenal in the hands of state officials . That afternoon , the citizen militia marched to the arsenal with Governor Rector at its head . All of the federal troops had left at this point , except Totten had stayed behind to listen to the Governor 's speech and to hand the arsenal over in person . | 15 | 1 |
In the 1880s , the federal government began closing many small arsenals around the country in favor of smaller ones built near railroads for quick deployment . The arsenal commander received word from Washington the Little Rock site must be abandoned " not later than October 1 , 1890 . " On April 12 , 1893 the tower building and the surrounding buildings were traded to the city of Little Rock for 1 @,@ 000 acres ( 4 km ² ) in North Little Rock under the condition that the building and land be " forever exclusively devoted to the uses and purposes of a public park " for 1 @,@ 000 acres ( 4 km ² ) in Big Rock Mountain on the north side of the Arkansas River , present day North Little Rock . That site later became Fort Logan H. Roots . All of the original buildings surrounding the Tower Building were demolished . | 16 | 1 |
The family of four was moderately well off , and belonged to the lower end of the upper middle class . A nanny , a governess , and a cook to prepare special meals for Barker were hired . She spent much time in bed at home amusing herself with painting books and a nursery library included the works of Kate Greenaway and Randolph Caldecott – two artists exerted strong influences on her later art . | 17 | 2 |
The children in the kindergarten modelled for the Flower Fairies until the kindergarten closed in 1940 . In an interview in 1958 , Barker said , " My sister ran a kindergarten and I used to borrow her students for models . For many years I had an atmosphere of children about me – I never forgot it . " She also painted the children of relatives as well as Gladys Tidy , the Barkers ' young housekeeper , posed for the Primrose Fairy in 1923 . The plants were painted from life , and if a specimen was not readily at hand , Kew Gardens staff would provide her the specimens needed . Barker designed and built the Flower Fairy costumes , and based each on the flowers and leaves of the particular plant to be illustrated . The costumes were kept in a trunk in her studio along with wings made of twigs and gauze . Each was broken down after an illustration was completed and the parts recycled for other costumes . She often referred to Dion Clayton Calthrop 's English Costume . | 18 | 1 |
Barker worked principally in watercolor with pen @-@ and @-@ ink , but she was equally competent in black @-@ and @-@ white , in oils , and in pastels . She carried a sketchbook with her for capturing interesting children . She once indicated , " I have always tried to paint instinctively in a way comes naturally to me , without any real thought or attention to artistic theories . " | 19 | 1 |
Barker 's sketches , drawings , and paintings of children were given to friends or to the parents of the subjects , donated to charitable institutions and church sponsored events , or exhibited through various art organizations . She illustrated magazine covers , dust jackets , and produced series of postcards for Raphael Tuck and other publishers such as Picturesque Children of the Allies ( 1915 ) , Seaside Holidays ( 1918 ) , and Shakespeare 's Boy and Girl Characters ( 1917 , 1920 ) . Her own Old Rhymes for All Times ( 1928 ) and The Lord of the Rushie River ( 1938 ) , a tale about a girl lives among swans on a riverbank , were critically well received . Set about 1800 , Groundsel and Necklaces ( 1943 ) tells of a girl named Jenny rescues her family from poverty through the agency of the fairies . The story features an old Scrooge @-@ like man called Mr. Petercoo and tonally suggests a Dickensian social consciousness . Simon the Swan , intended as a sequel to Rushie River was outlined in 1943 with Groundsel , but only developed in 1953 . It was published posthumously in 1988 and is critically considered less successful than Groundsel . | 20 | 2 |
The Gambia women 's national football team represents the Gambia in international football competition . The team , however , has not competed in a match recognised by FIFA , the sport 's international governing body , despite that organised women 's football has been played in the country since 1998 . The Gambia has two youth teams , an under @-@ 17 side has competed in FIFA U @-@ 17 Women 's World Cup qualifiers , and an under @-@ 19 side withdrew from regional qualifiers for an under @-@ 19 World Cup . The development of a national team faces challenges similar to those across Africa , although the national football association has four staff members focusing on women 's football . | 21 | 2 |
The Gambia also has an under @-@ 19 team was to play in the African Women 's U @-@ 19 Championship in 2002 . The Gambia 's first match was against Morocco , but the team withdrew from the competition . | 22 | 1 |
Benthic in nature , the plain maskray feeds mainly on caridean shrimp and polychaete worms , and to a lesser extent on small bony fishes . It is viviparous , with females producing litters of one or two young are nourished during gestation via histotroph ( " uterine milk " ) . This species lacks economic value but is caught incidentally in bottom trawls , which it is thought to be less able to withstand than other maskrays due to its gracile build . As it also has a limited distribution and low fecundity , the International Union for Conservation of Nature ( IUCN ) has listed it as Near Threatened . | 23 | 1 |
The first scientific description of the plain maskray was authored by Commonwealth Scientific and Industrial Research Organisation ( CSIRO ) researcher Peter Last in a 1987 issue of Memoirs of the National Museum of Victoria . The specific name annotatus comes from the Latin an ( " not " ) and notatus ( " marked " ) , and refers to the ray 's coloration . The holotype is a male 21 @.@ 2 cm ( 8 @.@ 3 in ) across , caught off Western Australia ; several paratypes were also designated . Last tentatively placed the species in the genus Dasyatis , noting that it belonged to the " maskray " species group also included the bluespotted stingray ( then Dasyatis kuhlii ) . In 2008 , Last and William White elevated the kuhlii group to the rank of full genus as Neotrygon , on the basis of morphological and molecular phylogenetic evidence . | 24 | 1 |
The plain maskray inhabits the continental shelf of northern Australia from the Wellesley Islands in Queensland to the Bonaparte Archipelago in Western Australia , including the Gulf of Carpentaria and the Timor and Arafura Seas . There are unsubstantiated reports that its range extends to southern Papua New Guinea . It is the least common of the several maskray species native to the region . This species is a bottom @-@ dweller prefers habitats with fine sediment . It has been recorded from between 12 and 62 m ( 39 and 203 ft ) deep , and tends to be found farther away from shore than other maskrays in its range . | 25 | 1 |
The main conservation threat to the plain maskray is incidental capture by commercial bottom trawl fisheries . In the present day , this is mostly caused by Australia 's Northern Prawn Fishery , which operates throughout its range . Although this species is discarded when caught , it is more delicate @-@ bodied than other maskrays and is thus unlikely to survive encounters with trawling gear . Historically , this species may also have been negatively affected by Japanese , Chinese , and Taiwanese trawlers fished intensively off northern Australia from 1959 to 1990 . These factors , coupled with the plain maskray 's limited distribution and low reproductive rate , have resulted in its being assessed as Near Threatened by the International Union for Conservation of Nature ( IUCN ) . | 26 | 1 |
The 2011 – 12 Columbus Blue Jackets season was the team 's 12th season in the National Hockey League ( NHL ) . The Blue Jackets ' record of 29 – 46 – 7 [ note 1 ] was the worst record in the NHL for 2011 – 12 and the first time in franchise history they finished in last place . It also marked the third straight year they missed the playoffs . Consequently , they had the best chance to receive the first overall selection in the 2012 NHL Entry Draft lottery , but lost out to the Edmonton Oilers and received the second pick instead . | 27 | 1 |
The Blue Jackets began the year with the worst start in franchise history and the worst by any team in an NHL season in 19 years . After an 11 – 25 – 5 start , Head Coach Scott Arniel was fired and replaced by Assistant Coach Todd Richards . The poor season prompted several personnel changes including the trade of All @-@ Star forward Jeff Carter , was acquired with much fanfare during the off @-@ season . With the prospect of another rebuild looming the Blue Jackets ' captain and best player , Rick Nash , requested to be traded , though he would remain with the team for the entire season . | 28 | 1 |
In the off @-@ season the Blue Jackets ' approach to building their team changed , moving from a team of young developing players into one with established players . The first deal General Manager Scott Howson made was the acquisition of All @-@ Star forward Jeff Carter on June 23 , 2011 . The deal sent Jakub Voracek , Columbus ' first @-@ round draft choice , the eighth overall , and their third @-@ round pick in the 2011 Draft to the Philadelphia Flyers in exchange for Carter . The trade received a positive response in Columbus from fans and management felt they finally had a number one center to play alongside of their best player , Rick Nash . Next , they traded for the negotiating rights of soon to be free agent James Wisniewski . Wisniewski scored a career high 51 points during the 2010 – 11 season , splitting time between the New York Islanders and Montreal Canadiens . The point total was fifth @-@ highest in the league for defenseman scoring , tying Tobias Enstrom . The Blue Jackets came to terms with Wisniewski , just an hour prior to the start of free agency , signing him to a six @-@ year , $ 33 million deal . | 29 | 1 |
Columbus also traded former first round draft pick Nikita Filatov to the Ottawa Senators for a third @-@ round pick in the 2011 Draft . Filatov had failed to live up to expectations in Columbus , playing in only 44 games over three seasons scoring six goals . Prior to the start of the season , the Blue Jackets were questioned for not signing a veteran back @-@ up to starting goaltender Steve Mason , as the former Calder Memorial Trophy winner had struggled in consecutive seasons . The Blue Jackets signed Mark Dekanich as the back @-@ up had only 50 minutes of NHL experience prior to the start of the season . Columbus did sign a veteran Curtis Sanford to be their third string goaltender and to start for their American Hockey League ( AHL ) affiliate , the Springfield Falcons . Sanford had not played in the NHL since 2009 . During training camp , Dekanich suffered a high ankle sprain was expected to keep him out of the line @-@ up for a month . Additionally , Sanford suffered a groin injury , leaving Allen York as the back @-@ up . York had only played four professional games , all in the AHL , entering the season . | 30 | 2 |
After the first five games , all losses , Jeff Carter suffered a broken foot kept him out of the line @-@ up for 10 games . While Carter was injured , the Blue Jackets continued to lose games . In the eighth game of the year , they had a chance to end the losing streak against the Ottawa Senators . Columbus held a 3 – 2 lead with under a minute to play . Jason Spezza tied the game on a late power play , and with just 4 @.@ 7 seconds remaining , Milan Michalek notched the winning goal for the Senators . The loss helped set a franchise record for futility with a 0 – 7 – 1 record to start a season . [ note 1 ] The losing streak came to an end three days later with a win over the Detroit Red Wings . During the game , several milestones were reached . James Wisniewski made his Columbus debut , Ryan Johansen and John Moore scored their first career NHL goals and Grant Clitsome had a career @-@ high three assists . Columbus was unable to create any momentum from the win , however , and continued to struggle , culminating in a 2 – 12 – 1 record , which was the worst start to an NHL season for any team in 19 years . With the team struggling , management attempted to " shake things up " by making some roster moves . The first move was the acquisition of center Mark Letestu from the Pittsburgh Penguins . Next , they traded defenseman Kris Russell to the St. Louis Blues for Nikita Nikitin . As the clubs slow start continued , there were rumors that Head Coach Scott Arniel would be fired and replaced with Ken Hitchcock . Hitchcock had previously coached the Blue Jackets to their only playoff appearance in club history and was still under contract with the franchise through to the end of the season . Before any of these rumors came to fruition , the St. Louis Blues asked Columbus for permission to hire Hitchcock , which the Blue Jackets allowed . Hitchcock began his Blues coaching career with a 6 – 1 – 2 record in his first nine games , while Columbus amassed a 6 – 13 – 3 record to start the season . | 31 | 1 |
Following the break , the Blue Jackets were on the road playing the Los Angeles Kings , and with the score tied late in the game , Kings ' defenseman Drew Doughty scored with just 0 @.@ 4 seconds remaining to win the game . Upon review of the goal it , was determined that the clock at Staples Center froze at 1 @.@ 8 seconds for over a full second , which would have resulted in time expiring prior to the goal being scored . Kings ' General Manager Dean Lombardi stated that the clock was correct and no extra time had been added due to the way the clock self @-@ corrects at various times . Howson stated on the team 's blog that " It is an amazing coincidence that with the Kings on a power play at Staples Center and with a mad scramble around our net in the dying seconds of the third period of a 2 – 2 hockey game the clock stopped for at least one full second , " adding that , " Either there was a deliberate stopping of the clock or the clock malfunctioned . " NHL Senior Vice President of Hockey Operations Colin Campbell stated that the Blue Jackets were wronged , but that the outcome of the game could not be changed , and that the delay was not noticed by the off @-@ ice officials or the situation room in Toronto . To determine the true cause of the clock pause , the NHL launched an investigation , talking with the clock 's manufacturer and interviewing Staples Center staff . | 32 | 1 |
Columbus started March with a 2 – 0 shutout against the Colorado Avalanche . They proceeded to win their next game against the Phoenix Coyotes 5 – 2 , which marked the first time the Blue Jackets posted back @-@ to @-@ back regulation victories during the season . Columbus again defeated the Coyotes three days later to earn their first three @-@ game win streak of the season . They extended the streak to four with a win over the Los Angeles Kings before it came to an end with a 4 – 1 loss to the St. Louis Blues . It was the only four @-@ game win streak of the season for the Blue Jackets . They immediately matched their four @-@ game win streak with a four @-@ game losing streak and with ten games remaining , the Blue Jackets were the first team eliminated from playoff contention . Shortly after being eliminated , they were defeated by the Edmonton Oilers 6 – 3 ; the loss clinched last place in the NHL for Columbus . It was the first time in franchise history the Blue Jackets finished in 30th place . | 33 | 1 |
Finishing with the worst record in the NHL , Columbus had the best chance of receiving the first overall pick in the 2012 draft . With the NHL 's weighted draft lottery the Blue Jackets had a 48 @.@ 2 % chance of drafting first overall . However , the lottery was won by the Edmonton Oilers , proceeded to leapfrog Columbus and secure the number one draft pick for a third consecutive year . It was the fifth time the Blue Jackets were dropped one draft position in the franchise 's 12 lottery participations . | 34 | 2 |
In ice hockey , a combination of a player 's goals and assists are collectively called points . Penalty minutes are the total number of minutes assigned to a player for infractions assessed during the season.Plus @-@ minus is a statistic tracks when a player was on the ice while goals were scored , both for and against their team , though some in game situations will not effect the statistic . Below is a listing of all player statistics for the Blue Jackets during the season . | 35 | 1 |
During the off @-@ season the Blue Jackets parted ways with defensemen Jan Hejda , Anton Stralman , Sami Lepisto and Mike Commodore . Hejda , played four of his first five NHL seasons with the Blue Jackets , was offered a contract by Columbus , but felt that the organization undervalued him and left via free agency . Columbus had offered him a three @-@ year , $ 7 @.@ 5 million contract . He instead signed a four @-@ year , $ 13 million deal with the Colorado Avalanche . Stralman and Lepisto were not given qualifying offers which made them unrestricted free agents , and both signed with other teams . Commodore had originally signed a big contract with the Blue Jackets in 2008 , but fell out of favor . He was waived , sent to the minors and eventually had his contract bought out . In order to replace the departed players , Columbus not only acquired James Wisniewski , but also signed ten @-@ year NHL veteran Radek Martinek . Martinek played only seven games with the Blue Jackets before suffering a concussion and missing the remainder of the season . Brett Lebda was brought in to replace him . | 36 | 1 |
The Gregorian Tower ( Italian : Torre Gregoriana ) or Tower of the Winds ( Italian : Torre dei Venti ) is a round tower located above the Gallery of Maps , which connects the Villa Belvedere with the Apostolic Palace in Vatican City . The tower was built between 1578 and 1580 to a design by the Bolognese architect Ottaviano Mascherino ( was credited with building the Apostolic Palace ) mainly to promote the study of astronomy for the Gregorian Calendar Reform which was commissioned by Pope Gregory XIII and promulgated in 1582 . It was then also known as the Tower of Winds . The tower is now called the " Specola Astronomica Vaticana " , the Vatican Observatory . Four stages of progressive development have occurred since it was first established . The tower was an edifice of great value for astronomical observations made using a sundial as they provided essential confirmation of the need to reform the Julian calendar . | 37 | 1 |
The first stage of building of the tower , as recorded by Leo XIII in his motu proprio Ut mysticam of 1891 , is credited to Pope Gregory XIII , Pope from 1572 to 1585 . The directive was to build a tower at a suitable location in the Vatican and equip it with the " greatest and best instruments of the time " . The design was effected after a series of meetings of the experts had been appointed to reform the Julian calendar , in use since 45 BC , to verify their proposed reforms . Fr . Christoph Clavius , a Jesuit mathematician from the Roman College , was the expert on the committee suggested the new system for the observations . The 73 metres ( 240 ft ) tower was then built above the museum and library , flanked by the Belvedere and della Pigna courtyards . The instrumentation for the observation of the sun rays falling over it consisted of a meridian line designed by Ignazio Danti of Perugia . It was in the form of a circular marble plate in the centre , embellished with scientific designs . The tower still remains today , but has undergone improvements over the centuries . | 38 | 2 |
The revival of the observatory on the Gregorian Tower was initiated by the Barnabite Francesco Denza with the approval of Pope Leo XIII . High quality instruments were procured , partly with generous donations from Hicks of London , and the automatic recording instruments were procured from Richard in Paris . A four @-@ inch equatorial , a three @-@ inch transit instrument , and four pendulum clocks with two chronometers , were also procured from the observatory at Modena . In 1888 , the gift of a 16 inch long telescope to Pope Leo XIII , became a part of the observatory . Father Denza joined the observatory in 1889 after it was upgraded with more modern instruments . The same year , a second tower was built some 400 metres ( 1 @,@ 300 ft ) away from the main Gregorian Tower , overlooking the Vatican Gardens behind St. Peter 's Basilica on the south @-@ west border . It was built to a diameter of 17 metres ( 56 ft ) with a lower wall thickness of 4 @.@ 5 metres ( 15 ft ) , which could bear the load of a 13 inch photographic refractor , newly procured from Paris . Augustinian Father Rodriguez was the expert meteorologist held the post of director from 1898 to 1905 . In 1891 , Pope Leo XIII , promulgating the motu proprio Ut mysticam , designated the second tower as the seat of the newly established Vatican Observatory , a decision which required altering the roof to provide a flat terrace for astronomical observations . | 39 | 1 |
Atlanta was a casemate ironclad served in the Confederate and Union Navies during the American Civil War . She was converted from a Scottish @-@ built blockade runner named Fingal by the Confederacy after she made one run to Savannah , Georgia . After several failed attempts to attack Union blockaders , the ship was captured by two Union monitors in 1863 when she ran aground . Atlanta was floated off , repaired , and rearmed , serving in the Union Navy for the rest of the war . She spent most of her time deployed on the James River supporting Union forces there . The ship was decommissioned in 1865 and placed in reserve . Several years after the end of the war , Atlanta was sold to Haiti , but was lost at sea in December 1869 on her delivery voyage . | 40 | 1 |
Fingal was designed and built as a merchantman by J & G Thomson 's Clyde Bank Iron Shipyard at Govan in Glasgow , Scotland , and was completed early in 1861 . She was described by Midshipman Dabney Scales , served on the Atlanta before her battle with the monitors , as being a two @-@ masted , iron @-@ hulled ship 189 feet ( 57 @.@ 6 m ) long with a beam of 25 feet ( 7 @.@ 6 m ) . She had a draft of 12 feet ( 3 @.@ 7 m ) and a depth of hold of 15 feet ( 4 @.@ 6 m ) . He estimated her tonnage at around 700 tons bm . Fingal was equipped with two vertical single @-@ cylinder direct @-@ acting steam engines using steam generated by one flue @-@ tubular boiler . The engines drove the ship at a top speed of around 13 knots ( 24 km / h ; 15 mph ) . They had a bore of 39 inches ( 991 mm ) and a stroke of 30 inches ( 762 mm ) . | 41 | 1 |
The ship briefly operated between Glasgow and other ports in Scotland for Hutcheson 's West Highland Service before she was purchased in September 1861 by James D. Bulloch , the primary foreign agent in Great Britain for the Confederacy , to deliver the military and naval ordnance and supplies he had purchased . To disguise his control of Fingal , and the destination of her cargo , Bulloch hired an English crew and captain and put out his destination as Bermuda and Nassau in the Bahamas . The cargo was loaded in Greenock in early October , although Bullock and the other passengers would not attempt to board until they rendezvoused with the ship at Holyhead , Wales . On the night 14 / 15 October , as she was slowly rounding the breakwater at Holyhead , Fingal rammed and sank the Austrian brig Siccardi , slowly swinging at anchor without lights . Bulloch and the passengers embarked in the steamer while Bulloch dispatched a letter to his financial agents instructing them to settle damages with the brig 's owners because he could not afford to take the time to deal with the affair lest he and Fingal be detained . The ship reached Bermuda on 2 November and , after leaving port on 7 November , Bulloch informed the crew that the steamer 's real destination was Savannah , Georgia ; he offered to take anyone objected to the plan to Nassau . However , all of the crew agreed to join in the effort to run the Union blockade . Fingal was able slip safely into the Savannah estuary in a heavy fog on the night of 12 November without sighting any blockaders . | 42 | 2 |
The rectangular casemate was pierced with eight narrow gun ports , one each at the bow and stern and three along each side . Each gun port was protected by an armored shutter made of two layers of iron riveted together and allowed the guns to elevate only to a maximum of + 5 to + 7 ° . Atlanta was armed with single @-@ banded , 7 @-@ inch ( 178 mm ) Brooke rifles on pivot mounts at the bow and stern . The middle gun port on each side was occupied by a single @-@ banded , 6 @.@ 4 @-@ inch ( 163 mm ) Brooke rifle . The 17 @-@ caliber , seven @-@ inch guns weighed about 15 @,@ 000 pounds ( 6 @,@ 800 kg ) and fired 80 @-@ pound ( 36 kg ) armor @-@ piercing " bolts " and 110 @-@ pound ( 50 kg ) explosive shells . The equivalent statistics for the 18 @.@ 5 @-@ caliber , 6 @.@ 4 @-@ inch gun were 9 @,@ 110 pounds ( 4 @,@ 130 kg ) with 80 @-@ pound bolts and 64 @-@ pound ( 29 kg ) shells . Atlanta was also armed with a 20 @-@ foot ( 6 @.@ 1 m ) , solid iron , ram was reinforced by a series of vertical steel bars . In front of the ram was a spar torpedo carried 50 pounds ( 23 kg ) of black powder on a wooden pole connected to an iron lever could be raised or lowered by means of pulleys . | 43 | 3 |
A lookout aboard Weehawken spotted Atlanta at 04 : 10 on the morning of 17 June . When the latter ship closed to within about 1 @.@ 5 miles ( 2 @.@ 4 km ) of the two Union ships , she fired one round from her bow gun passed over Weehawken and landed near Nahant . Shortly afterward , Atlanta ran aground on a sandbar ; she was briefly able to free herself , but the pressure of the tide pushed her back onto the sandbar . This time Webb was unable to get off and the monitors closed the range . When Weehawken , the leading ship , closed to within 200 – 300 yards ( 180 – 270 m ) she opened fire with both of her guns . The 11 @-@ inch ( 279 mm ) shell missed , but the 15 @-@ inch ( 381 mm ) shell struck the ironclad above the port middle gun port , penetrated her armor and broke the wooden backing behind it , spraying splinters and fragments disabled the entire gun crew and half the crew of the bow gun , even though it failed to cleanly penetrate through the backing . The next shot from the 11 @-@ inch Dahlgren gun struck the upper hull and started a small leak even though it failed to penetrate the two @-@ inch armor there . The next shell from the 15 @-@ inch Dahlgren glanced off the middle starboard gun shutter as it was being opened , wounding half the gun 's crew with fragments . The final shell was also from the 15 @-@ inch Dahlgren and it struck the top of the pilothouse , breaking the armor there and wounding both pilots in it . By this time , Atlanta had been able to fire only seven shots , none of which hit either Union ship , and was hard aground with high tide not due for another hour and a half . Weehawken and Nahant were able to freely maneuver into positions from which the Atlanta 's narrow gun ports would not allow her to reply and the damage already inflicted by the former ship made further resistance futile . Webb surrendered his ship within 15 minutes of opening fire , before Nahant even had a chance to fire . Of the ironclad 's 21 officers and 124 enlisted men , one man was killed and another sixteen were wounded badly enough to require hospitalization . | 44 | 2 |
Atlanta was easily pulled free by the Union ships and she reached Port Royal under her own power . Not badly damaged , she was repaired and bought by the Union Navy . The prize money of $ 350 @,@ 000 was shared between the crews of Weehawken , Nahant and the gunboat Cimarron , the only ships within signaling distance . The ship retained her name and was commissioned again on 2 February 1864 , rearmed with a pair of 8 @-@ inch ( 203 mm ) , 150 @-@ pound Parrott rifles in the bow and stern and 6 @.@ 4 @-@ inch , 100 @-@ pound Parrott rifles amidships . The 150 @-@ pound Parrott rifle weighed 16 @,@ 500 pounds ( 7 @,@ 500 kg ) and was 17 calibers long . The 100 @-@ pounder weighed 9 @,@ 800 pounds ( 4 @,@ 400 kg ) and was 20 calibers long . It fired a 100 @-@ pound ( 45 kg ) shell a distance of 6 @,@ 900 yards ( 6 @,@ 300 m ) at an elevation of + 25 ° . All four of her Brooke rifles are currently located in Willard Park in the Washington Navy Yard . Atlanta was assigned to the North Atlantic Blockading Squadron and spent most of her time stationed up the James River where she could support operations against Richmond and defend against a sortie by the ironclads of the James River Squadron . On 21 May 1864 , she and the gunboat Dawn fired on and dispersed Confederate cavalry was attacking Fort Powhatan and she was deployed further upriver in February 1865 after the Battle of Trent 's Reach to better blockade the Confederate ironclads at Richmond . | 45 | 1 |
After the end of the war in April , Atlanta was decommissioned in Philadelphia on 21 June 1865 and placed in reserve at League Island . She was sold to Sam Ward on 4 May 1869 for the price of $ 25 @,@ 000 and subsequently delivered to representatives of Haiti on 8 December by Sydney Oaksmith , a lawyer had received an advance of $ 50 @,@ 000 on her purchase price of $ 260 @,@ 000 . The ship was briefly seized by the Customs Service , possibly for violations of neutrality laws as she had just loaded four large guns and a number of recruits for the forces of Sylvain Salnave , President of Haiti , was embroiled in a civil war . Atlanta was released and sailed for Port @-@ au @-@ Prince three days later . She broke down in Delaware Bay and had to put in at Chester , Pennsylvania for repairs . The ship , now renamed either Triumph or Triumfo , departed on 18 December 1869 and vanished en route , apparently sinking with the loss of all hands , either off Cape Hatteras or the Delaware Capes . | 46 | 2 |
Fernandez was born on 11 August 1985 , in Manama , Bahrain , and was raised in a multi @-@ ethnic family . Her father , Elroy , is Sri Lankan , and her mother , Kim , is of Malaysian descent . Her grandfather , on her mother 's side of the family , is Canadian and her great grandparents were from Goa , India . Her father , was a musician in Sri Lanka , moved to Bahrain in the 1980s to escape civil unrest between the Tamils and Sinhalese and subsequently met her mother was an air hostess . She is the youngest of four children with one elder sister and two elder brothers . She hosted television shows in Bahrain at the age of fourteen . After receiving her early education in Bahrain , she pursued a degree in mass communication from the University of Sydney in Australia . After graduating she worked as a television reporter in Sri Lanka . She also attended the Berlitz school of languages , where she learnt Spanish and improved her French and Arabic . | 47 | 2 |
According to Fernandez , she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star . She received some training at the John School of Acting . Although , she was a television reporter , she accepted offers in the modeling industry , which came as a result of her pageant success . In 2006 , she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles . In a 2015 interview , Fernandez described the modeling industry as " a good training ground " and said : " It is a medium is about shedding your inhibitions , knowing your body , confidence " . In 2006 , she appeared in a music video for the song " O Sathi " by music duo Bathiya and Santhush . | 48 | 1 |
In 2010 , Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai . She was cast as a girl from Venus , lands on Earth in search of love . The film , along with Fernandez 's performance , received poor reviews ; Rediff.com 's Sukanya Verma noted : " She gamely makes a fool of herself whilst aping the actions of movie stars , ranging from Sridevi 's Naagin dance , Mithun Chakravarthy 's Disco Dancer moves , to Big B 's violent headshake in Hum . Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn 't so intent on turning her into a love @-@ struck Barbie . " Critic Anupama Chopra also criticized Fernandez , calling her " a pin @-@ prick on a balloon " . Later that year , she made a cameo appearance in Sajid Khan 's Housefull in the song " Dhanno " . | 49 | 1 |
Mahesh Bhatt 's thriller Murder 2 was Fernandez 's first commercial success and marker a turning point in her career . She took on the role of Priya , a lonely model is in a confused relationship with Arjun Bhagwat ( played by Emraan Hashmi ) . Fernandez was praised for the her performance , and for the boldness and sex appeal she displayed in the film . Gaurav Malini of The Times of India stated that she was " tastefully tempting " but noted that her romance with Hashmi was " literally half @-@ baked " . The following year , Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar , John Abraham , and Asin . It became one of the top grossing productions of India that year and earned ₹ 1 @.@ 86 billion ( US $ 28 million ) worldwide . Fernandez received mostly negative reviews for her performance . While Gaurav Malini praised her for her looks , NDTV called her a " blathering bimbo " " find [ s ] no pleasure in [ her role ] " . Despite the negative reviews , Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance . | 50 | 2 |
Fernandez 's first release of 2013 was Race 2 , an ensemble action thriller ( alongside Saif Ali Khan , John Abraham , Deepika Padukone , Ameesha Patel , and Anil Kapoor ) ) , described as the " cinematic equivalent of a trashy novel " by critic Rajeev Masand . She played Omisha , a femme fatale , a role which required her learn fencing and some acrobatics . The film emerged as a commercial success , with the domestic gross of more than ₹ 1 billion ( US $ 15 million ) . In a particularly scathing review , Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone " strut around like wound @-@ up automatons are all decked @-@ up but have nowhere to go . " Fernandez also appeared in an item number ( music video ) titled " Jaadu Ki Jhappi " for Prabhu Deva 's Ramaiya Vasta Vaiya . | 51 | 1 |
In 2015 , Fernandez featured in Vicky Singh 's Roy , a romantic thriller , which critic Sarita A. Tanwar described as a " boring , exhausting and pretentious " film . Fernandez played dual roles , Ayesha Aamir , a filmmaker in a relationship with another filmmaker ( played by Arjun Rampal ) and Tia Desai , a girl in love with a thief ( played by Ranbir Kapoor ) . While India TV called it " her best act till date " , critic Rajeev Masand felt that she " appears miscast in a part required greater range . " Roy failed to meet its box @-@ office expectations , and was a commercial failure . Later that year , she appeared in a guest appearance for the comedy @-@ satire Bangistan . | 52 | 1 |
Karan Malhotra 's action drama Brothers was Fernandez 's next release . Co @-@ starring alongside Akshay Kumar and Sidharth Malhotra , Fernandez played Jenny , a fearless mother struggling for her child , a role which she described as " challenging " , " intense " , and " difficult " . The role marked a departure from the glamorous characters she had a reputation for portraying . Film critics praised her performance , though their response to the film was mixed . Dhriti Sharma of Zee News called her character " soft , timid and promising " , and praised her for : " convincingly pull [ ing ] off a pleasing character of a street fighter 's wife " . Film critic Subhash K. Jha noted that she : " ... in a limited role gives her finest emotive shot " , while critic Raja Sen remarked : " [ she ] plays Kumar 's long @-@ sobbing wife gets so deliriously happy on seeing a text message it may well have contained news about a Kick sequel . " | 53 | 3 |
In addition to acting in films , Fernandez has supported charitable organisations and a number of causes . In 2011 , on the behalf of People for the Ethical Treatment of Animals ( PETA ) , she sent a letter to the Mumbai Municipal Commissioner asking for an end to horse @-@ drawn carriage rides in Mumbai . In early 2013 , she asked the consulate general of the Philippines , William John T Perera in Colombo , to hasten the transfer of an elephant from its inadequate housing at the Manila Zoo to a humane sanctuary . Later that year , she auctioned a breakfast in Mayfair , London , where she raised around £ 4000 for the Pratham NGO , which helps children 's primary education . In 2014 , Fernandez was named " Woman Of The Year " by PETA ( India ) for advocating the protection of animals . The following year , she auctioned her outfits on an online portal for a philanthropic cause . Some of her outfits included the ones she wore in the song " Party On My Mind " ( from Race 2 ) and " Hangover " ( from Kick ) . In March 2016 , she was part of " Jacqueline Builds " campaign raised funds for the victims of the 2015 South Indian floods . | 54 | 1 |
Barry John Cullen ( born August 2 , 1964 ) is a Canadian former professional ice hockey centre played in the National Hockey League ( NHL ) for the Pittsburgh Penguins , Hartford Whalers , Toronto Maple Leafs and Tampa Bay Lightning . He was a standout player for Boston University and is the school 's all @-@ time leading scorer . After the Buffalo Sabres selected him in the 1986 NHL Supplemental Draft but chose not to offer him a contract , Cullen signed with the Flint Spirits of the International Hockey League ( IHL ) for the 1987 – 88 season where he was named the IHL 's co @-@ Rookie of the Year and Most Valuable Player after leading the league in scoring . | 55 | 1 |
He idolized his elder brother Terry , was considered a top NHL prospect until Terry 's career was ended when he suffered a broken neck after being hit from behind into the boards during a college game . While his brother was highly sought by American universities , John received only two scholarship offers , choosing to play for Boston University ( BU ) in 1983 . | 56 | 1 |
Cullen enjoyed immediate success with linemates Shawn Burr and Alexander Selivanov as the trio combined to score 130 points and helped lead the Lightning to the first playoff appearance in franchise history . They were eliminated by the Philadelphia Flyers in five games while Cullen led the team in playoff scoring with three goals and three assists . The Lightning looked to improve in 1996 – 97 ; Cullen was leading the team in scoring , but was suffering flu @-@ like symptoms he could not shake . As Tampa was fighting for a playoff spot , he played through his condition for weeks . | 57 | 1 |
After two months of quietly dealing with his symptoms , Cullen 's wife finally called team trainers and asked them to check into his illness . The team took an x @-@ ray and found a large black shadow in his chest . He underwent a CAT scan which revealed Cullen had a baseball @-@ sized tumor ; he was diagnosed as having Non @-@ Hodgkin lymphoma . The diagnosis ended his season , and he immediately began chemotherapy treatments quickly reduced his cancer . The tumor was gone by September 1997 , but a precautionary test prior to training camp revealed that Cullen still had cancer cells in his body . He missed the entire 1997 – 98 NHL season as he continued to battle the disease , while his teammates wore a uniform patch with his # 12 in support throughout the year . | 58 | 1 |
On one day during his treatments , as his wife was wheeling him down a hospital corridor , Cullen went into cardiac arrest , requiring doctors to use a defibrillator to revive him . He underwent a bone marrow transplant briefly reduced his immune system to the point that he could have very little human contact . Another examination in April 1998 revealed that the cancer was finally gone , and Cullen immediately began training for a comeback . | 59 | 1 |
Former Lightning head coach Terry Crisp has stated publicly that Cullen was a player stood out as something special saying “ John Cullen ... beat cancer and came back to play and helped us win . ” | 60 | 1 |
Ancient Egyptian deities are the gods and goddesses worshipped in ancient Egypt . The beliefs and rituals surrounding these gods formed the core of ancient Egyptian religion , which emerged sometime in prehistory . Deities represented natural forces and phenomena , and the Egyptians supported and appeased them through offerings and rituals so that these forces would continue to function according to maat , or divine order . After the founding of the Egyptian state around 3100 BC , the authority to perform these tasks was controlled by the pharaoh , claimed to be the gods ' representative and managed the temples where the rituals were carried out . | 61 | 1 |
In different eras , various gods were said to hold the highest position in divine society , including the solar deity Ra , the mysterious god Amun , and the mother goddess Isis . The highest deity was usually credited with the creation of the world and often connected with the life @-@ giving power of the sun . Some scholars have argued , based in part on Egyptian writings , that the Egyptians came to recognize a single divine power lay behind all things and was present in all the other deities . Yet they never abandoned their original polytheistic view of the world , except possibly during the era of Atenism in the 14th century BC , when official religion focused exclusively on the impersonal sun god Aten . | 62 | 1 |
The beings in ancient Egyptian tradition might be labeled as deities are difficult to count . Egyptian texts list the names of many deities whose nature is unknown and make vague , indirect references to other gods are not even named . The Egyptologist James P. Allen estimates that more than 1 @,@ 400 deities are named in Egyptian texts , whereas his colleague Christian Leitz says there are " thousands upon thousands " of gods . | 63 | 2 |
The Egyptian language 's terms for these beings were nṯr , " god " , and its feminine form nṯrt , " goddess " . Scholars have tried to discern the original nature of the gods by proposing etymologies for these words , but none of these suggestions has gained acceptance , and the terms ' origin remains obscure . The hieroglyphs were used as ideograms and determinatives in writing these words show some of the traits the Egyptians connected with divinity . The most common of these signs is a flag flying from a pole . Similar objects were placed at the entrances of temples , representing the presence of a deity , throughout ancient Egyptian history . Other such hieroglyphs include a falcon , reminiscent of several early gods were depicted as falcons , and a seated male or female deity . The feminine form could also be written with an egg as determinative , connecting goddesses with creation and birth , or with a cobra , reflecting the use of the cobra to depict many female deities . | 64 | 3 |
The Egyptians distinguished nṯrw , " gods " , from rmṯ , " people " , but the meanings of the Egyptian and the English terms do not match perfectly . The term nṯr may have applied to any being was in some way outside the sphere of everyday life . Deceased humans were called nṯr because they were considered to be like the gods , whereas the term was rarely applied to many of Egypt 's lesser supernatural beings , which modern scholars often call " demons " . Egyptian religious art also depicts places , objects , and concepts in human form . These personified ideas range from deities were important in myth and ritual to obscure beings , only mentioned once or twice , that may be little more than metaphors . | 65 | 2 |
Confronting these blurred distinctions between gods and other beings , scholars have proposed various definitions of a " deity " . One widely accepted definition , suggested by Jan Assmann , says that a deity has a cult , is involved in some aspect of the universe , and is described in mythology or other forms of written tradition . According to a different definition , by Dimitri Meeks , nṯr applied to any being was the focus of ritual . From this perspective , " gods " included the king , was called a god after his coronation rites , and deceased souls , entered the divine realm through funeral ceremonies . Likewise , the preeminence of the great gods was maintained by the ritual devotion was performed for them across Egypt . | 66 | 4 |
The first written evidence of deities in Egypt comes from the Early Dynastic Period ( c . 3100 – 2686 BC ) . Deities must have emerged sometime in the preceding Predynastic Period ( before 3100 BC ) and grown out of prehistoric religious beliefs . Predynastic artwork depicts a variety of animal and human figures . Some of these images , such as stars and cattle , are reminiscent of important features of Egyptian religion in later times , but in most cases there is not enough evidence to say whether the images are connected with deities . As Egyptian society grew more sophisticated , clearer signs of religious activity appeared . The earliest known temples appeared in the last centuries of the predynastic era , along with images resemble the iconographies of known deities : the falcon represents Horus and several other gods , the crossed arrows stand for Neith , and the enigmatic " Set animal " represents Set . | 67 | 4 |
Through contact with neighboring civilizations , the Egyptians also adopted foreign deities . Dedun , is first mentioned in the Old Kingdom , may have come from Nubia , and Baal , Anat , and Astarte , among others , were adopted from Canaanite religion during the New Kingdom ( c . 1550 – 1070 BC ) . In Greek and Roman times , from 332 BC to the early centuries AD , deities from across the Mediterranean world were revered in Egypt , but the native gods remained , and they often absorbed the cults of these newcomers into their own worship . | 68 | 1 |
Modern knowledge of Egyptian beliefs about the gods is mostly drawn from religious writings produced by the nation 's scribes and priests . These people were the elite of Egyptian society and were very distinct from the general populace , most of whom were illiterate . Little is known about how well this broader population knew or understood the sophisticated ideas the elite developed . Commoners ' perceptions of the divine may have differed from those of the priests . The populace may , for example , have mistaken the religion 's symbolic statements about the gods and their actions for literal truth . But overall , what little is known about popular religious belief is consistent with the elite tradition . The two traditions form a largely cohesive vision of the gods and their nature . | 69 | 1 |
Most Egyptian deities represent natural or social phenomena . The gods were generally said to be immanent in these phenomena — to be present within nature . The types of phenomena they represented include physical places and objects as well as abstract concepts and forces . The god Shu was the deification of all the world 's air ; the goddess Meretseger oversaw a limited region of the earth , the Theban Necropolis ; and the god Sia personified the abstract notion of perception . Major gods often had many roles and were involved in several types of phenomena . For instance , Khnum was the god of Elephantine Island in the midst of the Nile , the river was essential to Egyptian civilization . He was credited with producing the annual Nile flood fertilized the nation 's farmland . Perhaps as an outgrowth of this life @-@ giving function , he was said to create all living things , fashioning their bodies on a potter 's wheel . Gods could share the same role in nature ; Ra , Atum , Khepri , Horus , and other deities acted as sun gods . Despite their diverse functions , most gods had an overarching role in common : maintaining maat , the universal order was a central principle of Egyptian religion and was itself personified as a goddess . But some deities represented disruption to maat . Most prominently , Apep was the force of chaos , constantly threatening to annihilate the order of the universe , and Set was an ambivalent member of divine society could both fight disorder and foment it . | 70 | 4 |
Not all aspects of existence were seen as deities . Although many deities were connected with the Nile , no god personified it in the way Ra personified the sun . Short @-@ lived phenomena , like rainbows or eclipses , were not represented by gods ; neither were elements like fire and water or many other components of the world . | 71 | 1 |
The roles of each deity were fluid , and each god could expand its nature to take on new characteristics . As a result , gods ' roles are difficult to categorize or define . But despite their flexibility , the gods had limited abilities and spheres of influence . Not even the creator god could reach beyond the boundaries of the cosmos he created , and even Isis , though she was said to be the cleverest of the gods , was not omniscient . Richard H. Wilkinson , however , argues that some texts from the late New Kingdom suggest that , as beliefs about the god Amun evolved , he was thought to approach omniscience and omnipresence and to transcend the limits of the world in a way other deities did not . | 72 | 2 |
The deities with the most limited and specialized domains are often called " minor divinities " or " demons " in modern writing , although there is no firm definition for these terms . Among these lesser deities , Egyptologist Claude Traunecker draws a distinction between " genies " — specialized patron spirits of certain places , objects , or activities , such as the sea or marsh god Wadj @-@ Wer and the harvest goddess Renenutet — and demons , have a more dangerous character . Many demons are hostile , causing illness and other troubles among humans . Their power can also be protective ; they may guard certain places in the Duat , the realm of the dead , or advise and watch over humans . Egyptians believed the landscape was full of these unpredictable divine powers . Demons often act as servants and messengers to the greater gods , but their position in the hierarchy is not fixed . The protective deities Bes and Taweret originally had minor , demon @-@ like roles , but over time they came to be credited with great influence . | 73 | 1 |
Divine behavior was believed to govern all of nature . Except for the few deities disrupted the divine order , the gods ' actions maintained maat and created and sustained all living things . They did this work using a force the Egyptians called heka , a term usually translated as " magic " . Heka was a fundamental power that the creator god used to form the world and the gods themselves . | 74 | 1 |
The first divine act is the creation of the cosmos , described in several creation myths . They focus on different gods , each of which may act as creator deities . The eight gods of the Ogdoad , represent the chaos precedes creation , give birth to the sun god , establishes order in the newly formed world ; Ptah , embodies thought and creativity , gives form to all things by envisioning and naming them ; Atum produces all things as emanations of himself ; and Amun , according to the myths promoted by his priesthood , preceded and created the other creator gods . These and other versions of the events of creation were not seen as contradictory . Each gives a different perspective on the complex process by which the organized universe and its many deities emerged from undifferentiated chaos . The period following creation , in which a series of gods rule as kings over the divine society , is the setting for most myths . The gods struggle against the forces of chaos and among each other before withdrawing from the human world and installing the historical kings of Egypt to rule in their place . | 75 | 4 |
A recurring theme in these myths is the effort of the gods to maintain maat against the forces of disorder . They fight vicious battles with the forces of chaos at the start of creation . Ra and Apep , battling each other each night , continue this struggle into the present . Another prominent theme is the gods ' death and revival . The clearest instance where a god dies is the myth of Osiris ' murder , in which that god is resurrected as ruler of the Duat . The sun god is also said to grow old during his daily journey across the sky , sink into the Duat at night , and emerge as a young child at dawn . In the process he comes into contact with the rejuvenating water of primordial chaos . Funerary texts depict Ra 's journey through the Duat also show the corpses of gods are enlivened along with him . Instead of being changelessly immortal , the gods periodically died and were reborn by repeating the events of creation , thus renewing the whole world . But it was always possible for this cycle to be disrupted and for chaos to return . Some poorly understood Egyptian texts even suggest that this calamity is destined to happen — that the creator god will one day dissolve the order of the world , leaving only himself and Osiris amid the primordial chaos . | 76 | 2 |
Gods were linked with specific regions of the universe . In Egyptian tradition , the world includes the earth , the sky , and the Duat . Surrounding them is the dark formlessness existed before creation . The gods in general were said to dwell in the sky , although gods whose roles were linked with other parts of the universe were said to live in those places instead . Most events of mythology , set in a time before the gods ' withdrawal from the human realm , take place in an earthly setting . The deities there sometimes interact with those in the sky . The Duat , in contrast , is treated as a remote and inaccessible place , and the gods dwell there have difficulty communicating with those in the world of the living . The space outside the cosmos is also said to be very distant . It too is inhabited by deities , some hostile and some beneficial to the other gods and their orderly world . | 77 | 2 |
In the time after myth , most gods were said to be either in the sky or invisibly present within the world . Temples were their main means of contact with humanity . Each day , it was believed , the gods moved from the divine realm to their temples , their homes in the human world . There they inhabited the cult images , the statues depicted deities and allowed humans to interact with them in temple rituals . This movement between realms was sometimes described as a journey between the sky and the earth . As temples were the focal points of Egyptian cities , the god in a city 's main temple was the patron god for the city and the surrounding region . Deities ' spheres of influence on earth centered on the towns and regions they presided over . Many gods had more than one cult center , and their local ties changed over time . They could establish themselves in new cities , or their range of influence could contract . Therefore , a given deity 's main cult center in historical times is not necessarily his or her place of origin . The political influence of a city could affect the importance of its patron deity . When kings from Thebes took control of the country at start of the Middle Kingdom ( c . 2055 – 1650 BC ) , they elevated Thebes ' patron gods — first the war god Montu and then Amun — to national prominence . | 78 | 1 |
In Egyptian belief , names express the fundamental nature of the things to which they refer . In keeping with this belief , the names of deities often relate to their roles or origins . The name of the predatory goddess Sekhmet means " powerful one " , the name of the mysterious god Amun means " hidden one " , and the name of the goddess Nekhbet , was worshipped in the city of Nekheb , means " she of Nekheb " . But many other names have no certain meaning , even when the gods bear them are closely tied to a single role . The names of the sky goddess Nut and the earth god Geb do not resemble the Egyptian terms for sky and earth . | 79 | 2 |
The gods were believed to have many names . Among them were secret names conveyed their true natures more profoundly than others . To know the true name of a deity was to have power over it . The importance of names is demonstrated by a myth in which Isis poisons the superior god Ra and refuses to cure him unless he reveals his secret name to her . Upon learning the name , she tells it to her son , Horus , and by learning it they gain greater knowledge and power . | 80 | 1 |
In addition to their names , gods were given epithets , like " possessor of splendor " , " ruler of Abydos " , or " lord of the sky " , describe some aspect of their roles or their worship . Because of the gods ' multiple and overlapping roles , deities can have many epithets — with more important gods accumulating more titles — and the same epithet can apply to many deities . Some epithets eventually became separate deities , as with Werethekau , an epithet applied to several goddesses meaning " great enchantress " , which came to be treated as an independent goddess . The host of divine names and titles expresses the gods ' multifarious nature . | 81 | 1 |
Family relationships are a common type of connection between gods . Deities often form male and female pairs , reflecting the importance of procreation in Egyptian religious thought . Families of three deities , with a father , mother , and child , represent the creation of new life and the succession of the father by the child , a pattern connects divine families with royal succession . Osiris , Isis , and Horus formed the quintessential family of this type . The pattern they set grew more widespread over time , so that many deities in local cult centers , like Ptah , Sekhmet , and their child Nefertum at Memphis and Amun , Mut , and Khonsu at Thebes , were assembled into family triads . Genealogical connections like these are changeable , in keeping with the multiple perspectives in Egyptian belief . Hathor , as a fertility goddess , could act as mother to any child god , including the child form of the sun god , although in other circumstances she was the sun god 's daughter . | 82 | 1 |
Other divine groups were composed of deities with interrelated roles , or who together represented a region of the Egyptian mythological cosmos . There were sets of gods for the hours of the day and night and for each nome ( province ) of Egypt . Some of these groups contain a specific , symbolically important number of deities . Paired gods can stand for opposite but interrelated concepts are part of a greater unity . Ra , who is dynamic and light @-@ producing , and Osiris , is static and shrouded in darkness , merge into a single god each night . Groups of three are linked with plurality in ancient Egyptian thought , and groups of four connote completeness . Rulers in the late New Kingdom promoted a particularly important group of three gods above all others : Amun , Ra , and Ptah . These deities stood for the plurality of all gods , as well as for their own cult centers ( the major cities of Thebes , Heliopolis , and Memphis ) and for many threefold sets of concepts in Egyptian religious thought . Sometimes Set , the patron god of the Nineteenth Dynasty kings and the embodiment of disorder within the world , was added to this group , which emphasized a single coherent vision of the pantheon . | 83 | 2 |
This divine assemblage had a vague and changeable hierarchy . Gods with broad influence in the cosmos or were mythologically older than others had higher positions in divine society . At the apex of this society was the king of the gods , was usually identified with the creator deity . In different periods of Egyptian history , different gods were most frequently said to hold this exalted position . Horus was the most important god in the Early Dynastic Period , Ra rose to preeminence in the Old Kingdom , Amun was supreme in the New , and in the Ptolemaic and Roman periods , Isis was the divine queen and creator goddess . Newly prominent gods tended to adopt characteristics from their predecessors . Isis absorbed the traits of many other goddesses during her rise , and when Amun became the ruler of the pantheon , he was conjoined with Ra , the traditional king of the gods , to become a solar deity . | 84 | 2 |
The gods were believed to manifest in many forms . The Egyptians had complex conception of the human soul , consisting of several parts . The spirits of the gods were composed of many of these same elements . The ba was the component of the human or divine soul affected the world around it . Any visible manifestation of a god 's power could be called its ba ; thus , the sun was called the ba of Ra . A depiction of a deity was considered a ka , another component of its being , which acted as a vessel for that deity 's ba to inhabit . The cult images of gods were the focus of temple rituals , as well as the sacred animals represented certain deities , were believed to house divine bas in this way . Gods could be ascribed many bas and kas , which were sometimes given names representing different aspects of the god 's nature . Everything in existence was said to be one of the kas of Atum the creator god , originally contained all things within himself , and one deity could be called the ba of another , meaning that the first god is a manifestation of the other 's power . Divine body parts could act as separate deities , like the Eye of Ra and Hand of Atum , both of which were personified as goddesses . | 85 | 4 |
Gods were combined with each other as easily as they were divided . A god could be called the ba of another , or two or more deities could be joined into one god with a combined name and iconography . Local gods were linked with greater ones , and deities with similar functions were combined . Ra was connected with the local deity Sobek to form Sobek @-@ Ra ; with his fellow ruling god , Amun , to form Amun @-@ Ra ; with the solar form of Horus to form Ra @-@ Horakhty ; and with several solar deities as Horemakhet @-@ Khepri @-@ Ra @-@ Atum . On rare occasion , even deities of different sexes were joined in this way , producing combinations like Osiris @-@ Neith and Mut @-@ Min . This linking of deities is called syncretism . Unlike other situations for which this term is used , the Egyptian practice was not meant to fuse competing belief systems , although foreign deities could be syncretized with native ones . Instead , syncretism acknowledged the overlap between their roles , and extended the sphere of influence for each of them . Syncretic combinations were not permanent ; a god was involved in one combination continued to appear separately and to form new combinations with other deities . But closely connected deities did sometimes merge . Horus absorbed several falcon gods from various regions , such as Khenty @-@ irty and Khenty @-@ khety , became little more than local manifestations of him ; Hathor subsumed a similar cow goddess , Bat ; and an early funerary god , Khenti @-@ Amentiu , was supplanted by Osiris and Anubis . | 86 | 2 |
In the reign of Akhenaten ( c . 1353 – 1336 BC ) in the mid @-@ New Kingdom , a single solar deity , the Aten , became the sole focus of the state religion . Akhenaten ceased to fund the temples of other deities and erased the gods ' names and images on monuments , targeting Amun in particular . This new religious system , sometimes called Atenism , differed dramatically from the polytheistic worship of many gods in all other periods . Whereas , in earlier times , newly important gods were integrated into existing religious beliefs , Atenism insisted on a single understanding of the divine excluded the traditional multiplicity of perspectives . Yet Atenism may not have been full monotheism , which totally excludes belief in other deities . There is evidence suggesting that the general populace was still allowed to worship other gods in private . The picture is further complicated by Atenism 's apparent tolerance for some other deities , like Shu . For these reasons , the Egyptologist Dominic Montserrat suggested that Akhenaten may have been monolatrous , worshipping a single deity while acknowledging the existence of others . In any case , Atenism 's aberrant theology did not take root among the Egyptian populace , and Akhenaten 's successors returned to traditional beliefs . | 87 | 1 |
Scholars have long debated whether traditional Egyptian religion ever asserted that the multiple gods were , on a deeper level , unified . Reasons for this debate include the practice of syncretism , which might suggest that all the separate gods could ultimately merge into one , and the tendency of Egyptian texts to credit a particular god with power surpasses all other deities . Another point of contention is the appearance of the word " god " in wisdom literature , where the term does not refer to a specific deity or group of deities . In the early 20th century , for instance , E. A. Wallis Budge believed that Egyptian commoners were polytheistic , but knowledge of the true monotheistic nature of the religion was reserved for the elite , wrote the wisdom literature . His contemporary James Henry Breasted thought Egyptian religion was instead pantheistic , with the power of the sun god present in all other gods , while Hermann Junker argued that Egyptian civilization had been originally monotheistic and became polytheistic in the course of its history . | 88 | 2 |
Hornung 's arguments have greatly influenced other scholars of Egyptian religion , but some still believe that at times the gods were more unified than he allows . Jan Assmann maintains that the notion of a single deity developed slowly through the New Kingdom , beginning with a focus on Amun @-@ Ra as the all @-@ important sun god . In his view , Atenism was an extreme outgrowth of this trend . It equated the single deity with the sun and dismissed all other gods . Then , in the backlash against Atenism , priestly theologians described the universal god in a different way , one coexisted with traditional polytheism . The one god was believed to transcend the world and all the other deities , while at the same time , the multiple gods were aspects of the one . According to Assmann , this one god was especially equated with Amun , the dominant god in the late New Kingdom , whereas for the rest of Egyptian history the universal deity could be identified with many other gods . James P. Allen says that coexisting notions of one god and many gods would fit well with the " multiplicity of approaches " in Egyptian thought , as well as with the henotheistic practice of ordinary worshippers . He says that the Egyptians may have recognized the unity of the divine by " identifying their uniform notion of ' god ' with a particular god , depending on the particular situation . " | 89 | 1 |
Egyptian writings describe the gods ' bodies in detail . They are made of precious materials ; their flesh is gold , their bones are silver , and their hair is lapis lazuli . They give off a scent the Egyptians likened to the incense used in rituals . Some texts give precise descriptions of particular deities , including their height and eye color . Yet these characteristics are not fixed ; in myths , gods change their appearances to suit their own purposes . Egyptian texts often refer to deities ' true , underlying forms as " mysterious " . The Egyptians ' visual representations of their gods are therefore not literal . They symbolize specific aspects of each deity 's character , functioning much like the ideograms in hieroglyphic writing . For this reason , the funerary god Anubis is commonly shown in Egyptian art as a dog or jackal , a creature whose scavenging habits threaten the preservation of buried mummies , in an effort to counter this threat and employ it for protection . His black coloring alludes to the color of mummified flesh and to the fertile black soil Egyptians saw as a symbol of resurrection . | 90 | 2 |
Most gods were depicted in several ways . Hathor could be a cow , cobra , lioness , or a woman with bovine horns or ears . By depicting a given god in different ways , the Egyptians expressed different aspects of its essential nature . The gods are depicted in a finite number of these symbolic forms , so that deities can often be distinguished from one another by their iconographies . These forms include men and women ( anthropomorphism ) , animals ( zoomorphism ) , and , more rarely , inanimate objects . Combinations of forms , such as gods with human bodies and animal heads , are common . New forms and increasingly complex combinations arose in the course of history . Some gods can only be distinguished from others if they are labeled in writing , as with Isis and Hathor . Because of the close connection between these goddesses , they could both wear the cow @-@ horn headdress was originally Hathor 's alone . | 91 | 1 |
Certain features of divine images are more useful than others in determining a god 's identity . The head of a given divine image is particularly significant . In a hybrid image , the head represents the original form of the being depicted , so that , as the Egyptologist Henry Fischer put it , " a lion @-@ headed goddess is a lion @-@ goddess in human form , while a royal sphinx , conversely , is a man has assumed the form of a lion . " Divine headdresses , which range from the same types of crowns used by human kings to large hieroglyphs worn on gods ' heads , are another important indicator . In contrast , the objects held in gods ' hands tend to be generic . Male deities hold was staffs , goddesses hold stalks of papyrus , and both sexes carry ankh signs , representing the Egyptian word for " life " , to symbolize their life @-@ giving power . | 92 | 1 |
The forms in which the gods are shown , although diverse , are limited in many ways . Many creatures are widespread in Egypt were never used in divine iconography , whereas a few , such as falcons , cobras , and cattle , can each represent many deities . Animals were absent from Egypt in the early stages of its history were not used as divine images . For instance , the horse , which was only introduced in the Second Intermediate Period ( c . 1650 – 1550 BC ) , never represented a god . Similarly , the clothes worn by anthropomorphic deities in all periods changed little from the styles used in the Old Kingdom : a kilt , false beard , and often a shirt for male gods and a long , tight @-@ fitting dress for goddesses . | 93 | 2 |
In official writings , pharaohs are said to be divine , and they are constantly depicted in the company of the deities of the pantheon . Each pharaoh and his predecessors were considered the successors of the gods had ruled Egypt in mythic prehistory . Living kings were equated with Horus and called the " son " of many deities , particularly Osiris and Ra ; deceased kings were equated with these elder gods . Pharaohs had their own mortuary temples where rituals were performed for them during their lives and after their deaths . But few pharaohs were worshipped as gods long after their lifetimes , and non @-@ official texts portray kings in a human light . For these reasons , scholars disagree about how genuinely most Egyptians believed the king to be a god . He may only have been considered divine when he was performing ceremonies . | 94 | 1 |
However much it was believed , the king 's divine status was the rationale for his role as Egypt 's representative to the gods , as he formed a link between the divine and human realms . The Egyptians believed the gods needed temples to dwell in , as well as the periodic performance of rituals and presentation of offerings to nourish them . These things were provided by the cults the king oversaw , with their priests and laborers . Yet , according to royal ideology , temple @-@ building was exclusively the pharaoh 's work , as were the rituals priests usually performed in his stead . These acts were a part of the king 's fundamental role : maintaining maat . The king and the nation he represented provided the gods with maat so they could continue to perform their functions , which maintained maat in the cosmos so humans could continue to live . | 95 | 2 |
The ba of a god was said to periodically leave the divine realm to dwell in the images of that god . By inhabiting these images , the gods left their concealed state and took on a physical form . To the Egyptians , a place or object was ḏsr — " sacred " — was isolated and ritually pure , and thus fit for a god to inhabit . Temple statues and reliefs , as well as particular sacred animals , like the Apis bull , served as divine intermediaries in this way . Dreams and trances provided a very different venue for interaction . In these states , it was believed , people could come close to the gods and sometimes receive messages from them . Finally , according to Egyptian afterlife beliefs , human souls pass into the divine realm after death . The Egyptians therefore believed that in death they would exist on the same level as the gods and fully understand their mysterious nature . | 96 | 1 |
Temples , where the state rituals were carried out , were filled with images of the gods . The most important temple image was the cult statue in the inner sanctuary . These statues were usually less than life @-@ size , and made of the same precious materials were said to form the gods ' bodies . Many temples had several sanctuaries , each with a cult statue representing one of the gods in a group such as a family triad . The city 's primary god was envisioned as its lord , employing many of the residents as servants in the divine household the temple represented . The gods residing in the temples of Egypt collectively represented the entire pantheon . But many deities — including some important gods as well as those were minor or hostile — were never given temples of their own , although some were represented in the temples of other gods . | 97 | 3 |
To insulate the sacred power in the sanctuary from the impurities of the outside world , the Egyptians enclosed temple sanctuaries and greatly restricted access to them . People other than kings and high priests were thus denied contact with cult statues . The only exception was during festival processions , when the statue was carried out of the temple but still enclosed in a portable shrine . People did have less direct means of interaction . The more public parts of temples often incorporated small places for prayer , from doorways to freestanding chapels near the back of the temple building . Communities also built and managed small chapels for their own use , and some families had shrines inside their homes . Despite the gulf separated humanity from the divine , the Egyptians were surrounded by opportunities to approach their gods . | 98 | 1 |
Egyptian gods were involved in human lives as well as in the overarching order of nature . This divine influence applied mainly to Egypt , as foreign peoples were traditionally believed to be outside the divine order . But in the New Kingdom , when other nations were under Egyptian control , foreigners were said to be under the sun god 's benign rule in the same way Egyptians were . | 99 | 1 |
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