This paper unpacks how Anno Domini fits into a well-known orientalist way of seeing Egypt but also reflects ideas about race that were prevalent in archaeology and other newly established scientific disciplines at the time. This general narrative, and its racial constructions, has been explored within reception theory and art history, but often overlooked in histories of archaeology and Egyptology. Anno Domini fits into a wider 19th-century popular visual and literary narrative around Egypt and its ancient and biblical past. This paper discusses the impact of ideas about the historical and racial origins of the Holy Family that are captured in the painting Anno Domini or the Flight into Egypt (1883/4) by Edwin Longsden Long.
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