These 11 ice cream shops are churning out greatness
width: 100%;
height: auto;
}
Crescent Ridge
Crescent Ridge
Jonathan Wiggs/Globe staff
For a taste of a roadside ice cream stand in the heart of the city, head to the Crescent Ridge stall at Boston Public Market, where the longtime Sharon dairy company serves up its famous family recipes. Don't miss the award-winning cherry ridge ripple — cherry ice cream with cherry halves and fudge. Best of all, unlike many rural roadside stands, this location is open year round.
Address:
Boston Public Market, 100 Hanover Street, Downtown
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
Delini Gelato
Delini Gelato
Ice cream is a summertime staple, but one taste of the gelato from this tiny shop in West Roxbury might tempt you to make the switch forever. Made in small batches, the richly flavored offerings here are a masterclass in the Italian treat. The constantly rotating menu, which can include flavors such as tiramisu, chocolate hazelnut, and baklava, will keep you on your toes. A few seats can be found inside, or you can just eat in your car — either way, you won't want to wait.
Address:
5 Bellevue Street, West Roxbury
Phone:
Not available
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
Far Out Ice Cream
Far Out Ice Cream
Harrison Seiler
Made to order is the name of the game at Far Out Ice Cream, a Brookline-based chain that crafts New Zealand-style ice cream (it's a thing) from regional ingredients. Select a chocolate or vanilla base – vegan, frozen yogurt, or small-batch ice cream – then take your pick of flash-frozen fruit, including Maine blueberries. Blended together in a machine, the result is a fruit-forward treat with soft-serve consistency. Add toppings such as wildflower honey, dark chocolate flakes, or matcha, and have it in a fresh, house-made waffle cone. It's New Zealand meets New England. Multiple locations in the Boston area.
Address:
419 Harvard Street, Brookline, and other locations
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
Forge Baking Co. & Ice Cream Bar
Forge Baking Co. & Ice Cream Bar
Harrison Seiler
Tucked in an unassuming strip mall between Porter and Union squares, this shop features small-batch ice cream with some deep local roots: its founders years ago honed their churning skills at Herrell's, the iconic chain. The ice cream here is dense but smooth with the sweet malted vanilla being a highlight, and while you're there you can also sample baked goods and pastries from the bakery.
Address:
626 Somerville Avenue, Somerville
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
Honeycomb Creamery
Honeycomb Creamery
At this popular ice cream shop between Harvard and Porter squares, owners strive to source every possible ingredient — strawberries, rhubarb, blueberries, raspberries, and more — from local farms, and you can taste it in exceptional, ripe flavors. Look for Taco Tuesdays (made with ice cream), vegan options, and fresh fruit sorbets — the most appealing lineup of frozen treats.
Address:
1702 Massachusetts Avenue, Cambridge
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
The Ice Creamsmith
The Ice Creamsmith
Summer nights in Dorchester's Lower Mills neighborhood wouldn't be complete without the smell of The Ice Creamsmith's sweet treats wafting in the air. Featuring store-baked cookies, ice cream cakes and pies, and of course delicious scoops and sundaes, it's no wonder the lines can get long at this nearly 50-year-old neighborhood spot. Locals return for flavors such as banana, which includes banana chunks, and the classic maple walnut.
Address:
2295 Dorchester Avenue, Dorchester
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
New City Microcreamery
On top of inventive, rotating dairy flavors — options can include chipotle mezcal, olive oil, horchata, and baklava — New City Microcreamery in Central Square is a surprisingly great choice for vegans. Skip the vanilla and opt for seasonal flavors like the dreamy chocolate avocado – silky, chocolaty, and just a touch earthy – or the refreshing lime avocado. The cherry on top: The sprinkles are vegan, too. (Additional locations in Hudson and Sudbury.)
Address:
403 Massachusetts Avenue, Cambridge
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
The Scoop N Scootery
The Scoop N Scootery
Responsible for felling many a pandemic diet, this delivery ice cream service is a creamy Mad Libs: Make your own zany creation with dozens of toppings ranging from sugar-cookie bites, to apple pie, to a fluffy hardened armor of whipped cream — a must — or trust shop employees' expertise. Who could resist, much less dream up, German chocolate cake ice cream piped with frosted red velvet cake? It's part dessert, part mad science experiment, all available without having to pause Netflix. The original location is on Mass. Ave. in Arlington.
Address:
75 Linden Street, Allston, and other locations
Phone:
Find online:
Related
:
.bofbpic img {
width: 100%;
height: auto;
}
Taiyaki
Taiyaki
Tom Yang
Taiyaki NYC offers flavors of soft serve ranging from vanilla to yuzu, but it isn't the ice cream that's made this spot Instagram-famous. The trendy chain with locations in the Seaport and Harvard Square specializes in cones made of taiyaki, the waffle-like Japanese treat shaped like a fish; here, it comes with ice cream spiraling out of an open mouth. Choose one filled with red bean paste or custard and top it with sprinkles or a mini unicorn horn. If you're not in the mood for ice cream, you can also order a standalone taiyaki — always made fresh, with a golden crust and gooey center.
Address:
119 Seaport Boulevard, Suite B, Seaport, and another location
Phone:
Find online:
.bofbpic img {
width: 100%;
height: auto;
}
Toscanini's
Toscanini's ice cream Green Tean and Mango Ice Cream.
Jonathan Wiggs /Globe Staff
It's no exaggeration to say that Toscanini's is a Cambridge institution. Gus and Mimi Rancatore's ice cream parlors have been serving rich, creamy scoops of burnt caramel, kulfi, and B3 (brown butter, brown sugar, and brownies) for years. With an ever-changing roster of creative flavors and a deeply Cantabrigian vibe, Toscanini's has won plentiful accolades and a loyal tribe of regulars.
Address:
899 Main Street, Cambridge
Phone:
Find online:
Boston Globe Best of the Best
were selected by Globe newsroom staff and correspondents, and limited to Boston, Cambridge, Somerville, and Brookline. We want to hear from you:
?
Advertisement
@font-face {
font-family: BentonSansCond-Regular;
src: url("https://apps.bostonglobe.com/common/font/bentonsanscond-regular.woff2") format('woff2'), url("https://apps.bostonglobe.com/common/font/bentonsanscond-regular.woff") format('woff');
}
@font-face {
font-family: BentonSansCond-Bold;
src: url("https://apps.bostonglobe.com/common/font/bentonsanscond-bold.woff2") format('woff2'), url("https://apps.bostonglobe.com/common/font/bentonsanscond-bold.woff") format('woff');
}
@font-face {
font-family: 'Miller';
src: url('https://apps.bostonglobe.com/common/font/miller.woff2') format('woff2'), url('https://apps.bostonglobe.com/common/font/miller.woff') format('woff');
}
@font-face {
font-family: "Miller Headline Bold";
src: url("https://www.bostonglobe.com/rw/SysConfig/WebPortal/BostonGlobe/Framework/type/MillerHeadline-Bold/3c91bd2d-bc82-4bba-944e-ab157bcdeae2-2.eot?iefix") format("eot"), url("https://www.bostonglobe.com/rw/SysConfig/WebPortal/BostonGlobe/Framework/type/MillerHeadline-Bold/3c91bd2d-bc82-4bba-944e-ab157bcdeae2-3.woff") format("woff"), url("https://www.bostonglobe.com/rw/SysConfig/WebPortal/BostonGlobe/Framework/type/MillerHeadline-Bold/3c91bd2d-bc82-4bba-944e-ab157bcdeae2-1.ttf") format("truetype"), url("https://www.bostonglobe.com/rw/SysConfig/WebPortal/BostonGlobe/Framework/type/MillerHeadline-Bold/3c91bd2d-bc82-4bba-944e-ab157bcdeae2-4.svg") format("svg");
}
@font-face { font-family: "Miller"; src: url("https://apps.bostonglobe.com/common/font/miller.woff2") format("woff2"), url("https://apps.bostonglobe.com/common/font/miller.woff") format("woff"); }
@font-face { font-family: Miller-Banner; src: url("https://apps.bostonglobe.com/common/font/miller-banner-regular.woff2") format("woff2"), url("https://apps.bostonglobe.com/common/font/miller-banner-regular.woff") format("woff"); font-style: normal; font-weight: 400; }
.bofb__container {
display: block;
max-width: 690px;
margin-left: auto;
margin-right: auto;
}
.bofb_hed {
font-family: "Miller-Banner", "Times New Roman", Times, Georgia, serif;
line-height: 1.2;
font-size: 28px;
font-weight: 200;
text-align: center;
letter-spacing: .5px;
color: #000;
display: block;
margin: 16px 15px 16px 0px;
text-decoration: none;
}
.darklinetop {
width: 100%;
display: block;
border-bottom: 0px solid rgba(86, 132, 155,1);
height: 2px;
background: #005DC7;
margin: 10px 0px;
text-align: center;
margin-left: auto;
margin-right: auto;
}
.bofboverline {
font-family: "BentonSansCond-Regular", "Impact", "Arial Narrow", "Helvetica", sans-serif;
text-align: left;
line-height: 1.5;
font-size: .75rem;
letter-spacing: .45px;
color: #9e1511;
padding: 8px 0px 0px 0px;
text-transform: uppercase;
}
h2.bofbblurbhed {
font-family: "Miller-Banner", "Times New Roman", Times, Georgia, serif;
text-align: left;
line-height: 1.25;
font-size: 1.75rem;
letter-spacing: .25px;
color: #000;
padding: 8px 0px 10px 0px;
}
.bfbblurbcopy {
font-family: "Georgia", "Times New Roman", Times, sans-serif, serif;
text-align: left;
line-height: 1.8;
font-size: 18px;
letter-spacing: .25px;
color: #000;
padding: 8px 0px 0px 0px;
}
.bfbphotocredit_caption {
font-family: "BentonSansCond-Regular", "Impact", "Arial Narrow", "Helvetica", sans-serif;
text-align: right;
line-height: 1.5;
font-size: 12px;
letter-spacing: .25px;
color: #000;
padding: 8px 0px 0px 0px;
}
.bfbphotocredit_caption span {
font-family: "BentonSansCond-Regular", "Impact", "Arial Narrow", "Helvetica", sans-serif;
color: #666;
text-transform: uppercase;
}
.dipupnext__content {
width: 100%;
display: grid;
grid-template-columns: 3fr;
grid-column-gap: 40px; /* Adjust the gap between columns */
margin-top: 10px;
}
.dipupnext:not(:last-child) {
border-right: 1px solid #fff; /* Add your desired border color and style */
padding-right: 20px; /* Adjust padding if necessary */
margin-right: -1px; /* Compensate for the added border width */
}
@media screen and (min-width: 500px) {
.dipupnext__content {
grid-template-columns: 1fr 1fr 1fr;
grid-column-gap: 40px;
}
.dipupnext:not(:last-child) {
border-right: 1px solid #005DC7; /* Add your desired border color and style */
padding-right: 20px; /* Adjust padding if necessary */
margin-right: -1px; /* Compensate for the added border width */
}
}
.bofbaddress {
font-family: "MillerHeadline-Bold", "Times New Roman", Times, Georgia, serif;
font-weight: 600;
text-align: left;
font-size: 16px;
line-height: 1;
margin-top: .5rem;
letter-spacing: 0px;
color: #000;
width: 100%;
}
.bofbaddressblurb {
font-family: "Georgia", "Times New Roman", Times, sans-serif, serif;
text-align: left;
line-height: 1.5;
font-size: .95rem;
letter-spacing: .25px;
color: #000;
padding: 2px 0px 0px 0px;
}
@media (min-width: 650px) {
.bofb_hed {
font-family: "Miller-Banner", "Times New Roman", Times, Georgia, serif;
line-height: .8;
font-size: 28px;
font-weight: 200;
text-align: center;
letter-spacing: .5px;
color: #000;
display: block;
margin: 16px 15px 6px 0px;
}
}
.theme-dark .bofb_hed {
color: #fff;
}
.newsletter{
display: block;
margin-left: auto;
margin-right: auto;
max-width: 700px;
}
.theme-dark .bofbblurbhed {
color: #fff;
}
.theme-dark .bfbphotocredit_caption {
color: #fff;
}
.theme-dark .bofboverline {
color: #fff;
}
.theme-dark .bfbblurbcopy {
color: #fff;
}
.theme-dark .bofbaddress {
color: #fff;
}
.theme-dark .bofbaddressblurb {
color: #fff;
}
Follow Us
Subscribe Now
My Account
Contact
More
©
2025 Boston Globe Media Partners, LLC
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Why cockpit audio deepens the mystery of Air India crash
Investigators have uncovered a chilling discovery in the preliminary investigation into the Air India Flight 171 crash which killed 260 people in June. Just seconds after takeoff, both the 12-year-old Boeing 787 Dreamliner's fuel-control switches abruptly moved to the "cut-off" position, starving the engines of fuel and triggering total power loss. Switching to "cut-off" is a move typically done only after landing. The cockpit voice recording captures one pilot asking the other why he "did the cut-off", to which the person replies that he didn't. The recording doesn't clarify who said what. At the time of takeoff, the co-pilot was flying the aircraft while the captain was monitoring. The switches were returned to their normal inflight position, triggering automatic engine relight. At the time of the crash, one engine was regaining thrust while the other had relit but had not yet recovered power. Air India Flight 171 was airborne for less than 40 seconds before crashing into a crowded neighbourhood in the western Indian city of Ahmedabad, marking one of India's most baffling aviation disasters. Investigators are probing the wreckage and cockpit recorders to understand what went wrong just after takeoff. The Air India flight climbed to 625 feet in clear weather before losing location data 50 seconds in, per Flightradar24. Saturday's 15-page report offers early insights. The investigation - led by Indian authorities, with experts from Boeing, GE, Air India and Indian regulators, alongside participants from the US National Transportation Safety Board and the UK - also raises a number of questions. Investigators say the lever-lock fuel switches are designed to prevent accidental activation - they must be pulled up to unlock before flipping, a safety feature dating back to the 1950s. Built to exacting standards, they're highly reliable. Protective guard brackets further shield them from accidental bumps. "It would be almost impossible to pull both switches with a single movement of one hand, and this makes accidental deployment unlikely," a Canada-based air accidents investigator, who wanted to remain unnamed, told the BBC. That's what makes the Air India case stand out. Air India crash report live updates Fuel to engines cut off before Air India crash, preliminary report says Who are the victims of the Air India plane crash? "It does beg the question: why did the pilot, any pilot, actually push the switches to the off position," Shawn Pruchnicki, a former airline accident investigator and aviation expert at Ohio State University, said. "Was it intentional, or the result of confusion? That seems unlikely, as the pilots reported nothing unusual. In many cockpit emergencies, pilots may press the wrong buttons or make incorrect selections - but there was no indication of such a situation here, nor any discussion suggesting that the fuel switches were selected by mistake. This kind of error doesn't typically happen without some evident issue," he told the BBC. Peter Goelz, a former managing director of the US's NTSB, echoed a similar sentiment: "The finding is very disturbing - that a pilot has shut off the fuel switch within seconds of flying." "There's likely much more on the cockpit voice recorder than what's been shared. A lone remark like 'why did you cut off the switches' isn't enough," he said. "The new details suggest someone in the cockpit shut those valves. The question is, who, and why? Both switches were turned off and then restarted within seconds. The voice recorder will reveal more: was the flying pilot trying to restart the engines, or the monitoring one?" Investigators believe the cockpit voice recorder - with audio from pilot mics, radio calls and ambient cockpit sounds - holds the key to this puzzle. "They haven't identified the voices yet, which is crucial. Typically, when the voice recorder is reviewed, people familiar with the pilots are present to help match voices. As of now, we still don't know which pilot turned the switches off and back on," said Mr Goelz. In short, investigators say what's needed is clear voice identification, a full cockpit transcript with labelled speakers, and a thorough review of all communications from the moment the plane was pushed back from the gate to the time it crashed. They also say this underscores the need for cockpit video recorders, as recommended by the NTSB. An over-the-shoulder view would show whose hand was on the cut-off switch. Before boarding Flight 171, both pilots and crew passed breathalyser tests and were cleared fit to fly, the report says. The pilots, based in Mumbai, had arrived in Ahmedabad the day before the flight and had adequate rest. But investigators are also zeroing in on what they describe is an interesting point in the report. It says in December 2018, the US Federal Aviation Administration issued a Special Airworthiness Information Bulletin (SAIB) highlighting that some Boeing 737 fuel control switches were installed with the locking feature disengaged. While the issue was noted, it wasn't deemed an unsafe condition requiring an Airworthiness Directive (AD) - a legally enforceable regulation to correct unsafe conditions in a product. The same switch design is used in Boeing 787-8 aircraft, including Air India's VT-ANB which crashed. As the SAIB was advisory, Air India did not perform the recommended inspections. Mr Pruchnicki said he's wondering whether there was a problem with the fuel control switches. "What does this [bit in the report] exactly mean? Does it mean that with a single flip, that switch could shut the engine off and cut the fuel supply? When the locking feature is disengaged, what exactly happens? Could the switch just flip itself to off and shut down the engine? If that's the case, it's a really serious issue. If not, that also needs to be explained," he said. Others, however, aren't convinced this is a key issue. "I haven't heard of this which appears to be a low-profile FAA issuance. Nor have I heard any complaints [about the fuel switches] from pilots - who are usually quick to speak up. It's worth examining since it's mentioned, but it may just be a distraction," said Mr Goelz. Capt Kishore Chinta, a former investigator with India's Aircraft Accident Investigation Bureau (AAIB), wonders whether the switches tripped because of a problem with the plane's electronic control unit. "Can the fuel cut-off switches be triggered electronically by the plane's electronic control unit without movement by the pilot? If the fuel cut-off switches tripped electronically, then it's a cause for concern," he told the BBC. The report says fuel samples from the refuelling tanks were "satisfactory". Experts had earlier suggested fuel contamination as a possible cause of the dual engine failure. Notably, no advisory has been issued for the Boeing 787 or its GE GEnx-1B engines, with mechanical failure ruled out for now pending further investigation. It also said that the aircraft's Ram Air Turbine (RAT) had deployed - a clear sign of a major systems failure - and the landing gear was found in "down position" or not retracted. The RAT, a small propeller that extends from the underside of the Boeing 787 Dreamliner, acts as an emergency backup generator. It automatically deploys in flight when both engines lose power or if all three hydraulic systems register critically low pressure, supplying limited power to keep essential flight systems operational. "The deployment of the Ram Air Turbine (RAT) strongly supports the conclusion that both engines had failed," Mr Pruchnicki said. A Boeing 787 pilot explained why he thought the landing gear was not retracted. "These days, every time I take off in a 787, I notice the landing gear retraction process closely. By the time the gear handle is pulled, we're already at about 200ft (60.9m), and the entire gear retraction process completes by around 400ft - roughly eight seconds in total, thanks to the aircraft's high-pressure hydraulic system." The pilot believes the one flying had no time to think. "When both engines fail and the aircraft starts going down, the reaction goes beyond just being startled - you go numb. In that moment, landing gear isn't your focus. Your mind is on one thing: the flight path. Where can I put this aircraft down safely? And in this case, there simply wasn't enough altitude to work with." Investigators say the crew tried to recover, but it happened too fast. "The engines were switched off and then back on. The pilots realised the engines were losing thrust - likely restarting the left one first, followed by the right," said Mr Pruchnicki. "But the right engine didn't have enough time to spool back up, and the thrust was insufficient. Both were eventually set to "run", but with the left shut down first and the right too late to recover, it was simply too little, too late."


Miami Herald
16 hours ago
- Miami Herald
Half-ton Roman statues and swords found by accident: See latest ancient finds
The summaries below were drafted with the help of AI tools and edited by journalists in our News division. All linked stories were reported, written and edited by McClatchy journalists. Throughout history, cultures have left behind a trail of breadcrumbs for archaeologists to follow. New sites and artifacts are found all the time, revealing forgotten secrets of the past. Here are some of the latest discoveries: Passerby visits Poland river to see low water level — and finds medieval weapon In Warsaw, Poland, a man stumbled upon a medieval sword while exploring the low water levels of the Vistula River. The sword, identified as a well-preserved medieval weapon, was found by chance and handed over to heritage officials for conservation. | Published July 4 | Read More | Rare half-ton statue — once guarding medieval gate — unearthed in France. See it In Toul, France, archaeologists uncovered a Renaissance-style equestrian statue that once adorned a medieval city gate. The statue, weighing over 1,000 pounds, was found during excavations of a site that has seen centuries of historical transformations.| Published July 1 | Read More | 'Beautifully preserved' woven Roman structure found in UK may hold 'secrets' In Norfolk, United Kingdom, a Roman well lined with intricately woven wicker was discovered, offering a glimpse into Roman Britain. The well is part of a larger Roman settlement complex, and its preservation provides valuable insights into ancient engineering techniques. Archaeologists are eager to uncover more secrets as they continue their excavation. | Published July 2 | Read More | Massive tree deep in Amazon hid ancient burials of unknown culture — until now In the Amazon's Fonte Boa region of Brazil, an uprooted tree revealed seven urns belonging to an unidentified indigenous group. These urns, buried beneath the tree, contained human and animal remains, indicating their use in funerary rituals. | Published June 26 | Read More | Ancient shipwreck hid dozens of treasures — until now. See the finds in Greece Off the coast of Greece, the Antikythera shipwreck continues to reveal its secrets, with recent excavations uncovering ancient sculptures and pottery. This 2,000-year-old wreck, known for its historical significance, has inspired stories and research for decades. | Published July 3 | Read More |


National Geographic
18 hours ago
- National Geographic
Explore the elaborate tomb of Nefertari—and see how ancient Egyptians buried their royals
PROTECTED BY GODDESSES Nefertari's vulture-shaped headdress is associated with the goddess Nekhbet, and her cobra-style earring is an emblem of the goddess Wadjet. Queen Nefertari, 'beloved of Mut,' lived during the 19th dynasty (13th century B.C.) and was a Great Royal Wife of Pharaoh Ramses II. She was most likely his favorite and the most powerful of them. Nefertari was showered with numerous honorific titles, including Great Royal Wife, Wife of God, Mother of Pharaoh, Hereditary Noblewoman, and Mistress of Upper and Lower Egypt. However, one title, She for Whom the Sun Shines, points to Ramses' special love for Nefertari. He built a magnificent tomb for her in the necropolis at the Valley of the Queens, or Ta Set Neferu ('the place of the beauties') as the ancient Egyptians called it. The site is south of the Valley of the Kings, and the layout is characteristic of tombs from the time of the New Kingdom. It was excavated out of the rocky mountainside and is organized in a series of descending corridors and chambers leading to the deepest chamber, where her sarcophagus was placed. DESCENT AND ASCENT A cross section of Nefertari's tomb shows its downward slant. Egyptians believed that after her body had been placed in the tomb's lowest level, her spirit returned, rising toward the light of Re. Lavish decoration Nefertari's tomb was looted in antiquity, but the few remaining goods hint at how luxurious the trousseau once was. The pieces of fabric, sandals, jewelry, fragments of statuettes, and boxes are of the highest quality. However, the real treasure is the beautifully executed and magnificently preserved painting on the tomb walls. Some 5,200 square feet of painted surface are still in good condition around 3,300 years after their creation. Ernesto Schiaparelli, the Italian Egyptologist who discovered the tomb in 1904, immediately recognized the extraordinary value of the wall paintings. He wrote in his account of the excavation: The magnificence of the style recalls the most beautiful of the Egyptian art produced in the first period of the nineteenth dynasty. It makes this tomb one of the most notable monuments of the necropolis of Thebes, which, if not for its size, certainly for the harmony of its parts, and the exquisiteness of the art, even competes with the most beautiful tombs of the Valley of the Kings. Analysis of the paintings inside the tomb suggests that two teams of artists carried out the most skilled one worked on the left side of the tomb, and the other worked on the right. First, the rock walls were covered with plaster, and onto this outlines of the figures were traced with red paint and then corrected with black came the artisans, who carved reliefs into the plaster following the painted outlines. Finally, the painters brought to life the walls and ceilings through the use of color. Over time, some layers of stucco that had been applied too thickly began to peel and fall off under their own weight. Remarkably, the damage was relatively minor and the paintings, now restored, provide a unique artistic insight into how the inhabitants of pharaonic Egypt understood death and the afterlife. (How a single battle—and one young pharaoh—turned Egypt into a superpower) Nefertari's journey to the afterlife The artistic conventions of the day are reflected in how the tomb was painted. Royal tombs were conceived as a microcosm, a world in themselves. The ceilings symbolized the sky, and the floor was the earth the deceased would become a part of. The burial chamber where the sarcophagus of the deceased king or queen was placed represented the kingdom of Osiris, the god of the underworld. It was believed Osiris presided over the tribunal that judged the soul, determining whether the person had been righteous enough to pass into immortality. PRIESTS One of the two sem, or funerary, priests is dressed in leopard's skin and wears a side braid, indicating his youth. The priests received the queen and were in charge of the funeral rites. If the judgment was favorable, the deceased began their ascent to rebirth with the sun god, Re. This transition involved a challenging journey during which the soul had to demonstrate certain knowledge and make offerings to the divine beings. The phases of this passage were detailed in the Book of the Dead. Nefertari's tomb was decorated and designed to help her on this journey, guiding the queen toward a full and happy life beyond death. The underground world of Osiris Nefertari's funeral ends with the transfer of her mummy to the burial chamber. This is symbolically the domain of Osiris, the god who embodies royal figures after death while simultaneously judging whether or not they are fit to enjoy immortality. Images of Osiris decorate the four pillars that support the room: On each pillar, he appears in human form and in symbolic form as the djed symbol. The mummy of Nefertari is put inside a large pink granite sarcophagus of which the lid, although broken, has been preserved. This sarcophagus is placed in the lower area of the room, which symbolizes the primordial earth, the origin of the world, and all that is in it. BURIAL CHAMBER The adjoining rooms to the burial chamber may have been used to store some of the queen's grave goods. Among the objects the looters didn't steal were various ushabti statuettes believed to magically come to life and work on behalf of the deceased in the fields of the afterlife. GUARDIANS Attendants armed with knives protect the portals of Osiris's kingdom. In the center is the lioness-headed guardian Qed-Her. To undertake the journey that led to her rebirth and eternal life, Nefertari needed the protection of various divinities also represented in the pillars of the chamber: the canid god Anubis and other protective goddesses, such as Isis, who offers her an ankh symbol. Images representing the first phase of the queen's journey to the afterlife appear on the side walls of the chamber. They depict the portals and caverns she had to navigate. To be allowed through, she has had to demonstrate that she knows the names of the portals' guardians. The names are written out to help her. (Archaeologists found another Egyptian royal tomb—but who does it belong to?) NEFERTARI BEFORE THE GODS Inside the burial chamber, the ceiling, decorated with a starry sky, is supported by four thick square columns. Nefertari, wearing a vulture headdress, is depicted accompanied by the goddesses Isis (front column). Osiris, god of the underworld, is portrayed on the back column. After completing her underworld tour, Nefertari ascended to the upper level via a stairway. It is a double staircase, with one side for the descent and the other for the ascent of the dead queen's spirit. She proceeds to the final stages of her regeneration in the rooms closest to the entrance. The decoration on the walls of the stairway reflects the journey from beyond the grave. After completing her underworld tour, Nefertari ascended to the upper level via a stairway. ANDREY PLAKSIN, At the bottom appears the sister of Osiris, Nephthys, kneeling over the hieroglyphic sign for gold, symbolizing the unalterable metal with which divine flesh, now including that of the deceased queen, was made. Above appears the canid god Anubis, guarding the tomb. Above Anubis is the cartouche on which the queen's name is inscribed. It is protected by a great winged cobra and, to the right of this, by the goddess Maat, who also has her wings spread out. Next are the goddesses Nephthys and Isis, seated on thrones. Standing before them is a depiction of Nefertari making offerings to Nephthys, Isis, and Maat as she requests their help in her ongoing journey. TRUTH AND BALANCE Behind the goddesses Nephthys and Isis, seated on their thrones, is the winged goddess Maat, protecting the cartouche that bears the queen's name. Maat was a very important divinity in Egypt, embodying the order and justice needed for the earth and the cosmos to function correctly. PAYING HOMAGE During her journey, Nefertari presents the goddesses with vessels of wine, a drink linked to the annual flooding of the Nile (because of the reddish sediments it carried), and with rejuvenation. The large offering table was laden with the food and drink that the deceased and the gods would need to live in the afterlife. Triumph over death The stairway leads to a vestibule that Nefertari passes through to reach the adjoining room beyond the west wall. To do this, she crosses the portal protected by the vulture goddess Nekhbet, patroness of Upper Egypt (in the south), a divinity closely linked to the queen who is also present in Nefertari's protective headdress that she wears in all the scenes of the tomb. It is in the vestibule that the nocturnal journey transitions to the diurnal journey. Nefertari passes in front of Selket and Neith, depicted on the side walls. In the company of the goddess Isis, Nefertari approaches the scarab-headed god Khepri, an allegory of the sun in its daily birth at dawn, and also linked to her journey toward rebirth. To the right of the doorway are Hathor, in her form of mistress or goddess of the west (the area containing the royal tombs on the west bank of the Nile), and Re-Horakhty, the morning sun, with the head of a falcon. COBRAS The entire space is protected by a frieze of cobras and ostrich feathers (symbol of Maat). An unnamed genie, kneeling on the first lintel, stops evil from entering and holds two circles incorporating the udjat (eye) of Horus, son of Osiris, a protective symbol believed to impart good health. VULTURE The vulture depicted on the other lintel embodies the goddess Nekhbet, with outspread wings. It holds in each of its claws the shen symbol, a knotted ring with no beginning or end. The shen was seen as a powerful amulet believed to offer eternal protection. WATER AND SKY The black stripe at the base of the walls symbolizes the black earth of Egypt that emerged from the primordial waters. This stripe contrasts dramatically with the stars on a blue background that cover the entire ceiling of Nefertari's tomb and evoke the dome of the sky. From the vestibule, the queen passes to the adjoining room, unaccompanied by any god. The most critical stages of the rebirth process occur in this room; once complete, she exits through the same door to enter the antechamber. This annex is also divided into two zones: the northwest half (the domain of Osiris) and the southeast half (the domain of the sun). THE GOD THOTH Nefertari stands before Thoth, god of writing and wisdom, depicted on a throne with the head of an ibis. In his right hand Thoth holds the sacred was scepter, with a forked base and topped with the head of a mythical animal. In his left hand he has an ankh symbol. In front of Thoth is a stand with a scribe's palette and a frog. ANDREY PLAKSIN, The division is determined by the back-to-back figures of Osiris, with green skin, and Atum, the setting sun. In this room, the queen makes offerings to various gods: Ptah, to whom she offers textiles so that she will be provided with the clothes she'll need in her afterlife; Thoth, who will give her the knowledge contained in speech and writing; and Atum. Perhaps the most vital panel of the whole sequence depicts a single green-skinned ram god in the form of a mummy. The figure combines the two divinities involved in the queen's rebirth: Osiris (expressed through the green skin) and Re (represented by the solar disk on its head). A hieroglyphic text confirms this identification: 'Osiris rests in Re' and 'It is Re who rests in Osiris.' (Nubian kings ruled Egypt for less than 100 years. Their influence lasted centuries.) OSIRIS AND ATUM Nefertari, holding a sekhem scepter, consecrates the offerings she presents to the god Osiris (left) and Atum, the evening sun (right). COWS AND OARS A representation of a spell in the Book of the Dead, this panel depicts seven divine cows and a bull. The queen would receive food from these when she was reborn. The oars in the bottom strip point eastward and are named after the four cardinal points. Nefertari returns to life By the end of her ascent, Nefertari is almost ready to merge with Re. She arrives in the antechamber and prepares to 'go forth by day.' The significance of this moment is explained in spell 17 of the Book of the Dead, inscribed in the chamber. It includes the line: 'Beginning of the praises and invocations to leave the glorious necropolis and to enter it, and in the beautiful west, to go out into the light of day.' The paintings show the queen already reborn, playing senet (a board game linked to death) and transfigured in the form of ba, one of the immaterial elements that form the soul. Her bird form with a human head enables the ba to fly out of the tomb during the day and return to rest and feed inside at night. The queen in mummified form lies on a bed. She is flanked by Isis at her feet and Nephthys at her head, both in the form of kites. Nefertari also worships the bird Bennu, a solar emblem of death and rebirth. With the stages of her nocturnal journey complete, Nefertari exits through the tomb door to appear the same as her father, Re. THE FAVORITE GAME IN THE AFTERLIFE Nefertari plays a game of senet while seated inside a booth made of reeds bound together at the corners. As is typical in funerary paintings, her opponent is not depicted. In front of the booth stands Nefertari's ba, a creature with a bird's body and the queen's facial features. The background of the booth and the cartouche are yellow, an emblem of immortality and the solar disk. MUMMY OF THE QUEEN On the upper part of the wall is a depiction of Nefertari's mummy lying inert on a bed with lion's paws. Her face is that of the god Osiris, lord of the underworld. Nefertari is guarded by the powerful goddesses Isis (at right), the wife of Osiris, and Nephthys (at left), his sister. Both are represented in the form of kites and raptors associated with resurrection. This story appeared in the July/August 2025 issue of National Geographic History magazine.