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Christiane Desroches Noblecourt: A legendary life

Simone Petacchi explores the life and work of a unique French Egyptologist.

French Egyptologist Christiane Desroches Noblecourt was renowned in Egyptology circles. The author of many books on Egyptian art and history, she was instrumental in the international campaign to save the monuments of Nubia from the flooding caused by the creation of the Aswan High Dam.

Born in 1913 into an upper-class family, Christiane’s intellect was fuelled by boundless curiosity and an insatiable hunger for knowledge. Her love of ancient Egypt began at the age of six, when she dressed up in a mummy costume. She began reading books on the daily life and funerary customs of the inhabitants of the Nile Valley, as she ‘never knew enough about this subject’. At home, she orchestrated themed balls, meticulously crafting costumes inspired by the people of the ‘Land of Pharaohs’. Then, in 1922, when flicking through the glossy pages of L’Illustration, she read about the groundbreaking discoveries of Carter within Tutankhamun’s tomb. From that moment, Christiane had an overwhelming passion for Egyptian civilisation, although she could not then foresee how this would evolve into a tangible career path.

Christiane Desroches Noblecourt in 2009. Image: © UNESCO 2009, via Wikicommons

Early career

At 17, Christiane made the bold decision to enroll in classes at the prestigious École du Louvre, where she delved into the intricate world of hieroglyphs, and immersed herself in ancient Egyptian art and archaeology. She continued her educational journey at other esteemed institutes in Paris, under the mentorship of Abbot Étienne Drioton, deputy curator at the Egyptian Department of the Louvre. An eminent expert in the ancient Egyptian language, Drioton recognised Desroches’ remarkable talent and unwavering determination. Several years later, at the age of 21, she secured her first post as a project manager at the Louvre – the first woman to rise to such a prestigious position. In this new capacity, she assumed responsibility for cataloguing countless pharaonic artefacts stowed away in storage, many of which had remained untouched in their cases since their initial discovery.

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