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ANCIZNT EGYPT
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ANCIENT
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F GYPT
TREASURES FROM THE
COLLECTIO NOF
THE ORIENTAL INSTITUTE
UNIVERSITY OF CHICAGO
Emily Teeter
Internet publication of this volume was made possible with the

generous support of Misty and Lewis Gruber
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This book is for Joe
02003 by The Oriental Institute of the University of Chicago.

All rights reserved. No part of this publication may be reproduced in any manner whatsoever
without permission in writing from the University of Chicago.
Oriental Institute Museum Publications no. 23
Published by The Oriental Institute of The University of Chicago.

1155 East 5 8th Street, Chicago, IL 60637 USA
www-oi.uchicago.edu
Edited by Emily Napolitano and Thomas Urban

Designed and typeset by Joan Sommers Design, Chicago
Printed and bound by Asia Pacific Offset
Printed in China
Photo credits: Unless otherwise indicated, all photographs are by Oriental Institute staff
photographers. Introduction: fig. i. un-attributed newspaper photograph, from the scrapbook of
Frances Hart Breasted; fig. 4. Chicago Architectural Photographing Company; fig. 5. Lloyd
DeGrane. Object nos. 1-3, 8-9, 11-12, 14, 17-18, 21, 24, 29 a-b-35, 37, 43, 46-48, 50-62 Jean M.
13
Grant, The Oriental Institute; no. Jean M. Grant and Joe Denov, The Oriental Institute; no. 7
(10628, o10641, 10642) Bruce White; no. 36 Peter Brenner
ISBN 1-88592-325-2
Library of Congress Control No. 2oo00310o4249
Cover: Nen-Khefet-Ka and Nefer-shemes (no. 8)

Title page: Musician (no. 7)
End sheets: Design based on ceiling decoration, Oriental Institute Museum
Back cover: Stela of Djed-khonsu-iw-es-ankh (no. 37)
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THIS PUBLICATION WAS MADE POSSIBLE

BY THE GENEROSITY OF THE WOMEN'S BOARD
OF THE UNIVERSITY OF CHICAGO
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CONTENTS Preface xi
Acknowledgments xiii
A History of the Egyptian Collection I
SELECTIONS FROM THE COLLECTION

Early Dynastic Period and Old Kingdom (ca. 3100-2219 B.C.)
i. Votive Plaque ii
2. Mehen Game Board 13
3. Panel from the Tomb of Nefermaat and Itet 14
4. False Door of Ny-su-redi 16
5. The Confectioner, Tchenenet 18
6. Singers and Dancers 20
7. "Servant" Statues from the Tomb of Ny-kau-inpu 21
8. Nen-khefet-ka and His Wife Nefer-shemes 26
9. Lintel of Kha-bau-ptah 28
io. A Warning to Tomb Robbers 29
ii. The Royal Herald, Neni 30
First Intermediate Period and Middle Kingdom (ca. 2219-1550 B.C.)
12. Uha and His Wife Henut-sen 33

13. Model Workshop 35
14. A Letter to the Dead 36
15. Stela of the Household of Senbu 38
New Kingdom and Third Intermediate Period (ca. 1550-664 B.C.)

16. Nakht and Seth-Antwety 41
17. Funerary Figure of Kenamun 43
I8. Child's Tunic 44
19. Statue of a God 46
20. Game of Twenty Squares 48
21. Detail of a Funerary Procession 50
22. Running Ibexes 51
23. Colossal Statue of Tutankhamun 52
24. Amun 55
25. Seti I and Ramesses II 56
26. Two Scenes of Nature 58
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CONTENTS
27. The Bad Boy 59

28. Stela Dedicated to the God Reshep 60
29. Decorative Tiles 61
30. Floral Column 62
31. Grooming Implements 64
32. Study for a Royal Tomb Painting 66
3 3 . Head of a King
68
34. Canopic Jars 69
35. A Priest of Hathor 71
36. Stela of the Hearing Ear 73
37. Offering to the God 74
38. Cartonnage Case and Mummy of Meresamun 75
39. Brick Stamp 78
40. Amunirdis I and Diese-heb-sed 79
41. Reliefs from the Tomb of Montuemhet So
The Late Period (664-332 B.c.)

42. Statue of Amun 83
43. Stela of Harsiese 85
44. Donation Stela 86
45. Composite Deity 89
46. Demotic "Marriage" Papyrus 90
47. Head from a Cat Coffin 92
48. Oracular Statue in the Form of a Falcon 94
49. Thoth Emblem 95
50. Ritual Vessel (Situla) 96
51. Book of the Dead 98
Ptolemaic, Roman, and Byzantine Periods (4 th century B.c.-8th century A.D.)

52. Statue Base of Djed-hor 101
53. Horus on the Crocodiles o103
54. Cult Statue of Queen Arsinoe II 105
55. Water Clock (Clepsydra) 107
56. Relief Fragment I0o9
57. Shoe 11iio
ViII
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58. Mummy Mask III

59. Funerary Stela of Pa-sher-o-pehty 112
6o. Mummy Portrait 113

61. Mask from a Funerary Shroud i15
62. Lamp in Form of a Bird 116
Glossary II9
Bibliography of Works Consulted 122
APPENDICES
i. Objects by Oriental Institute Museum Registration Number 127
2. Provenance of Catalogue Objects 128
3. Prior Publication of Catalogue Objects 131
4. Chronology of Ancient Egypt 138
5. Map 141
INDICES
General Index 143
Ancient Egyptian Personal Names 145
Royal Names 146
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PREFACE TH I S B O OK P R E S E NT S ancient Egyptian artifacts from the collection of the

Oriental Institute Museum of the University of Chicago. The Museum's holdings
are very rich but, ironically, few of the more than 25,000 pieces from the Nile
Valley are well known outside of academic circles, as they have been published
only in scholarly journals. Only a few objects from the collection-primarily
those which have been included in traveling exhibits-have been illustrated and
discussed in catalogues accessible to scholars and the public alike. The extent to
which the collection is unknown is attested by the number of very significant
objects in this book for which there is simply no publication history.
The choice of objects to be included in this volume was based on the some-
what idiosyncratic choices of the author. In the attempt to give the widest view of
the collection, the selection was not restricted to regal statues and reliefs. Written
documents, grooming tools, decorative tiles, clothing, and figurines objects
that are rarely illustrated elsewhere-were also included. Esthetic value was not
the overriding element in inclusion, cultural significance was perhaps a more
important factor. The broad variety of artifacts will, it is hoped, give the reader
an appreciation of the range and depth of treasures of the Oriental Institute
collection and the variety of Egyptian artifacts overall.
The Egyptian collection of the Oriental Institute cannot be disassociated
from the personality of its founder, James Henry Breasted. The introductory
essay on the history of the collection attempts to show the influence of this
giant of Egyptology and how his academic policies and the colorful history of
his Institute shaped the Egyptian collection.
Emily Teeter
Research Associate
Curator of Egyptian and Nubian Antiquities
The Oriental Institute
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ACKNOWLEDGMENTS
ALTHOUGH THE ORIENTAL I N S T I T UTE has long been recognized to be

among the world's leaders in the field of ancient Near Eastern studies, the hold-
ings of its museum are not widely known to the public. It is hoped that this
book, and others to follow, will bring the richness of the collection to the atten-
tion of scholars and the general public alike.
The need for illustrated catalogues of significant objects in the collection has
long been acknowledged. The complete renovation of the museum, which was
initiated in 1996, provided the impetus to initiate the project. A generous grant
from the Women's Board of the University of Chicago in 1998 enabled the
Oriental Institute Museum finally to realize this publication series. This grant is
a reflection of the Women Board's concern that the university community,
schools, and the more general arts and humanities communities be exposed to
the holdings of the museum and to the highly significant role that the University
of Chicago has played in the recovery of the languages, history, and culture of
the ancient Near East. I express my sincere thanks to Mrs. Diana King, then
Chairman of the Women's Board, and Mrs. Jetta Jones, Chairman of the 1998
Projects Committee, as well as to the entire Women's Board for their confidence
and generous support of the research projects of the Oriental Institute.
The author wishes to extend thanks to Gil Stein, Director of the Oriental
Institute, for bringing this project to fruition. I also thank former Director Gene
Gragg, and Karen Wilson, Director of the Oriental Institute Museum, for facili-
tating the initial stages of the project. I thank my immediate colleagues Peter
Dorman, Janet Johnson, W. Raymond Johnson, Robert Ritner, Robert Biggs,
Thomas Urban and Thomas Holland, and also Ronald Leprohon, Richard
Fazzini, Edna Russmann, and T. G. Wilfong who gave useful advice. Oriental
Institute Archivist John Larson assisted with the selection of images. Much of
the photography is the work of Jean Grant, photographer at the Oriental
Institute. Emily Napolitano undertook the final copy editing.
Loyal volunteers of the Oriental Institute assisted in many ways. Janet
Kessler kindly made numerous suggestions regarding the text, Peggy Grant
checked bibliographic references, Richard Harter scanned images, and Masako
Matsumota checked object dimensions. I thank them all for their assistance and
for their friendship.
I extend special thanks for the on-going support of Gretel Braidwood,
Executive Secretary of the Women's Board, for her unflagging and consistent
support of the Oriental Institute.
Xiii
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FIGURE 1. THE COLLECTION OF MORE THAN 25,ooo ancient Egyptian artifacts

View of the south hall of Hlaskell
housed at the Oriental Institute of the University of Chicago is among the most
Museum in 1896 showing the exhibit
important in North America. The objects came to the American Midwest through
arranged by Breasted. At this time,
the collections consisted primarily the carefully orchestrated plans and the sheer force of personality of men who
of plaster casts and small objects reflected the optimism and spirit characteristic of the advent of the zoth century-
purchased by Breasted on his honey-
John D. Rockefeller, Sr., his son John D. Rockefeller, Jr., William Rainey Harper,
moon trip.
and James Henry Breasted. In two generations these men created a world-renowned
university, museum, and research institute devoted to the study of ancient Egypt and
the Near East which was to shape the disciplines of Egyptology and ancient Near
Eastern studies.
John D. Rockefeller, Sr., provided generous financial grants for the foundation
of the University of Chicago in i89o. Working with the Board of Trustees he began
the search for a president for the fledgling university. Their candidate was William
Rainey Harper, a Semitic scholar at Yale University, whom Rockefeller wooed to the
Midwest with promises of financial aid to establish an Institute of Hebrew and an
American Institute of Sacred Literature.' As Rockefeller wrote to the prospective
president, "I agree with the Board of Trustees that you are the man for president,
and if you will take it, I shall expect great results."2 Rockefeller was not to be disap-
pointed. Harper accepted the position as the first president of the University of
Chicago and head of the Department of Semitic Languages, and he began assem-
bling a core of scholars who would distinguish the university. He persuaded his
brother, Robert Francis Harper, a scholar of Akkadian, to follow him to Chicago.
In I89o, while still at Yale, President Harper met graduate student James Henry
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A HISTORY OF THE EGYPTIAN COLLECTION
Breasted, who was to be crucial to the future of Egyptology in Chicago, and indeed
the world. Before coming to Yale, Breasted had studied for a career in the ministry.
However, while studying Hebrew he became disillusioned by the tremendous dis-
crepencies between the original Hebrew texts of the Old Testament and their transla-
tion in the King James Bible. Breasted professed his horror at the lack of fidelity to
the original texts writing, "I could never be satisfied to preach on the basis of texts I
know to be full of mistranslation."3 This fundamental lesson in the importance of
making accurate translations of ancient texts from which history could be written
was to define his career and the direction of scholarly work at the University of
Chicago. Harper encouraged Breasted to undertake graduate studies in Egyptology in
Berlin, then the world leader in the discipline, promising him, "Breasted, if you will
go to Germany and get the best possible scientific equipment, no matter if it takes
you five years, I will give you the professorship of Egyptology in the new University
of Chicago!"4
In 1894 Breasted graduated from Berlin with honors and became the first
American to receive a Ph.D. in Egyptology. His dissertation, prepared (in Latin!)
under the supervision of Adolph Erman and Eduard Meyer, dealt with monotheistic
hymns of the Amarna Period. While studying in Berlin he visited museum collec-
tions throughout Europe making painstakingly accurate copies of hieroglyphic texts
that appeared on artifacts.
That same year, Breasted and his American-born wife, Frances Hart, traveled to
Egypt on their honeymoon. This was Breasted's first opportunity to visit the Nile
Valley, and his wife's diaries suggest that the monuments were indeed a distraction:
"Tuesday [January 15, 1895] we spent over here at the north tombs [of Tell el Amarna]-
I reading and husband as usual, copying."
Harper gave Breasted $5oo00 to buy objects for the University of Chicago with the
directive that he should rely upon the generosity of dealers as much as possible and
return with the maximum number of artifacts and the most change. Breasted bought
modest items such as mummified animals, ushebtis, amulets, and fragments of
statues and reliefs, perhaps being hesitant to make commitments to more significant
objects. His wife's diaries comment that Breasted spent a day dickering over the
price of four mummies. He then hired camels to carry them to the river where they
were loaded "right into our bedrooms and [we] did not lose any sleep."
The honeymoon trip was also his first opportunity to examine the wealth of
hieroglyphic inscriptions that covered the temples and tombs. He was shocked
by the inaccuracies of the published versions of the texts and vowed,"I am now
laying plans to copy not merely the historical, but all the inscriptions of Egypt and
publish them."5
In 1896, the fledgling collection of artifacts at the University of Chicago was
moved from storage space in the basement of the Walker Museum into the Haskell
Oriental Museum. This building, named in honor of the late husband of Caroline E.
Haskell, was established with the mission of making "possible the broader and deeper
study of the world's sacred scriptures ... "6 Harper served as the first Director of the
museum, and Breasted as the Assistant Director. The collection consisted mainly of
"a few plaster cast reproductions and a small group of exhibit cases containing the
little collection of antiquities" that Breasted brought back from his honeymoon trip
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(fig. s). He commented that there were no books, no students, and a very low salary.
This last shortcoming motivated him to undertake a series of ambitious lecture tours
that served to fine-tune his ability to captivate the public with scholarly, yet entertain-
ing, talks on ancient Egypt. His talks were warmly received. As reported in a local
paper: "His subjects are explained and fastened better in memory by being illustrated
with beautiful stereopticon views..." and "he handles his subjects with a masterly
hand, not stopping his limitless flow until his hour is more than gone."7
Breasted was disappointed that, due to the influence of Robert Francis Harper,
the first field expedition of the Department of Semitic Studies was dedicated to the
excavation of Bismaya (ancient Adab) in Iraq rather than to work in Egypt. However,
after the premature curtailment of the Bismaya expedition, the balance of the fund-
ing for the expedition was made available for the First Epigraphic Survey-dedicated
to copying the inscriptions in the Nile Valley. In two seasons (19o5-o6, 19o6-7),
Breasted, accompanied by an assistant and a photographer, took over i,Ioo glass
plate negatives (carried on camel back and in a small boat through the treacherous
cataracts of the Nile), which are still valuable records of monuments south of the
First Cataract. During this grueling expedition, Breasted refined his technique of
copying inscriptions that developed into the "Chicago House" method that is still
used today.
The constant financial strain of Breasted's modest salary motivated him to lec-
ture constantly and to write popular books. His History of Egypt, published in I9o6,
was ultimately translated into many languages as well as Braille. Part of his quest to
educate the public about the ancient Near East provided the impetus to produce the
text book Ancient Times (1916), which Breasted professed to have hated writing.
However, this book provided the key to Breasted's future success, for Mrs. John D.
Rockefeller, Jr., read the book to her children at night, impressing her husband with
Breasted's ability to communicate with the public.
FIGURE 2.
Breasted in his office at Haskell Hall.

late 1920s. The bust of Akhenaton on
the top of the desk is a cast of the
original in Berlin. A clay prism covered
with historical inscriptions of King
Sennacherib of Assyria (ca. 689 B.C.)
is to the far right.
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A HISTORY OF THE EGYPTIAN COLLECTION
In I9I9 ,Breasted applied to the Rockefeller-supported General Education Fund

to fund a survey of the Near East and to establish a research center at the University
of Chicago. That institution, christened the Oriental Institute in 1919, was envisioned
as a "research laboratory for the investigation of the early human career" 8 which
would trace man's "progress" from the most ancient days of the Near East. An
important feature of the Oriental Institute was its museum. It exhibited Breasted's
modest purchases, as well as the many artifacts received as a result of the University's
financial support of the excavations of London's Egypt Exploration Fund (later the
FIGURE 3.
Egypt Exploration Society) and Egyptian Research Account (fig. 3).
View of the north hall of Haskell
The Egypt Exploration Fund and Egyptian Research Account continued to be the
Museum in 1922. The exhibit was
composed primarily of objects from conduit for most new acquisitions of Egyptian material until 1919-20 when Breasted
the excavations of the Egypt (later joined by colleagues D. D. Luckinbill, A. W. Shelton, William F. Edgerton, and
Exploration Fund and the British Ludlow Bull), traveled through Egypt and on to the Near East scouting possible exca-
School of Archaeology in Egypt, and
vation sites and making significant purchases of antiquities. Breasted commented
of objects purchased by Breasted in
1919-20. Catalogue numbers 35, 38, that this was an ideal time to add to the collections: "The situation is this... There is
and 52 are visible in the background. a body of material here in Cairo, which will never be available again ..."9He also
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FIGURE 4.
View of the Oriental Institute Egyptian

bought for the Art Institute of Chicago, spending more than $15,000 on their behalf
gallery, 1935. The ceiling is stenciled
and acquiring some of the key Egyptian pieces of that collection. The following year
with Egyptian-inspired designs and
the light fixtures imitate a type of he was appointed honorary curator of Egyptian Art at the Art Institute of Chicago.
ancient pottery. The end of the hall Following the 1919-20 survey of Egypt, the Oriental Institute concluded an
is dominated by a colossal winged
agreement with the Egyptian government to start work at the temple of Ramesses III
bull from the Oriental Institute's
at Medinet Habu in Luxor. This project was approached on two fronts. The
excavations at Khorsabad, Iraq.
Architectural Survey (1926-33), under the direction of Uvo Hl1scher, cleared the
temple and documented its architectural history and the artifacts from the precinct,
while the Epigraphic Survey (1924-), initially under Harold Nelson, copied the
reliefs and inscriptions on its walls.
The 1930os saw tremendous growth in the collections of the Oriental Institute.
The excavations at Medinet Habu resulted in the addition of approximately 8,ooo
objects (see nos. 23, 29, 30, 33, 36, 40, 62). This excavation was conducted at the
same time as the Institute's work at Megiddo (Israel), Persepolis (Iran), the Amuq
(Turkey), and Khorsabad and Khafajah (Iraq), resulting in a veritable flood of antiqui-
ties to Chicago. Between 1929 and 1939, the number of museum holdings doubled.
The growing collection was housed in a building constructed exclusively for the
Oriental Institute, and again funded by the generosity of John D. Rockefeller, Jr.
When the building opened in 1931, it included five galleries, one of which was
devoted to Egypt (fig. 4).
With the conclusion of the excavations of Medinet Habu in 1933, the death of
Breasted in 1935, reduced funding, and the reduction of divisions of antiquities by
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A HISTORY OF THIE EGYPTIAN COLLECTION
FIGURE 5.
View of the Joseph and Mary
Grimshaw Egyptian Gallery in 1999.
Egypt, the growth of the Egyptian collection slowed considerably. Yet, significant
acquisitions were made in the 950os (see nos. 41, 47) and objects continued to be
added through the excavation of Roman and medieval Quseir on the Red Sea Coast
(1978-82) and the 1960-68 UNESCO-sponsored excavations in Nubia. In addition,
important objects have been added to the collection through individual gifts
(see nos. 17, 56), or by exchange with other institutions (see no. 18).
The first Curator of the Oriental Institute Museum, Pinhas Delougaz, was
responsible for the reorganization of the museum storage and exhibit areas. His
Research Assistants, Miriam Lichtheim (who held the position 1944-48 and 1949-51)
and Helene J. Kantor (1945-48, and later Professor at the Oriental Institute), under-
took a virtual "excavation" of the basement, and published important studies on
pieces in the collection.io In 1969, Gustavus Swift was appointed the first full-time
non-faculty curator. Although there were minor modifications made to the appear-
ance of the Egyptian gallery over the next 25 years, the need to install climate control
systems to the exhibit and storage areas provided the opportunity to completely
redesign the exhibits. In 1996, all five museum galleries closed for construction and
renovation. The completely redesigned Joseph and Mary Grimshaw Egyptian Gallery
opened to the public in May 1999 (fig. 5). A survey of the collections undertaken
during the process of packing the objects to safeguard them during construction,
combined with the installation of climate systems, allowed an entirely new range of
objects to be exhibited, including objects of fragile leather, rush, papyrus, and textiles,
many of which had never previously been exhibited. In its new setting, with state-of-
the-art climate control systems, new lighting, and many new exhibit cases, the rich
Egyptian collection of the Oriental Institute is again accessible to scholars and the
public alike.
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I. Letter from Rockefeller to Harper, July rz, 1889, and March 3, 1890. This and following
passages quoted with permission of the Department of Special Collections, Joseph
Regenstein Library, University of Chicago.
2. Rockefeller to Harper, 1937 (box 56, folder 9), Department of Special Collections,
Regenstein Library.
3. Charles Breasted. Pioneer to the Past. New York: Charles Scribner's Sons, 1947, p. 22.
4. Pioneer, p. 30.
5. Pioneer, p. rIo.
6. Papers of W. R. Harper, (box 38, folder 1:3), Department of Special Collections,

Regenstein Library.
7. The Star, February 1896, from Breasted scrapbook in the Oriental Institute archive, p. 2.
8. J. H. Breasted, The Oriental Institute. Chicago: University of Chicago Press, 1933, p. 3-

9. Breasted to Hutchinson, December 4, 1919, in the Oriental Institute archive.
10io. For the respective bibliographies, see Miriam Lichtheim, Telling it Briefly: A Memoir of My
Life. Fribourg: University Press Fribourg, 1999, and Essays in Ancient Civilization Presented
to Helene J. Kantor. Edited by A. Leonard, Jr., and B. B. Williams. Chicago: Oriental
Institute, 1989.
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1.
VOTIVE PLAQUE
Early Dynastic Period, Dynasty 2,
ca. 2853-2707 B.C.
Faience
H: 5 '/8 W: 33/4 D: 5/8 in
(13 x 9.5 x 1.6 cm)
OIM 7911
THE CLASSIC REPRESENTATION of the human form developed very early in

Egyptian history, as indicated by this faience plaque that dates to the Early Dynastic
Period (ca. 2730 B.c.). The man is shown holding a staff-a sign of rank-in his
left hand. His left foot is advanced as if stepping forward. He wears a short false
beard and a kilt wrapped around his waist, its belt knotted at his navel. He stands
upon an artificial base line and he faces to the right-the dominant orientation of
figures in Egyptian art. All of these features remained a part of the standard repre-
sentation of humans well into the Roman era nearly 3,000 years later.
This plaque, along with a group of approximately i6o faience figures of animals
(mainly baboons, the representation of the god Hedj-wer), thirty ivory carvings,
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EARLY DYNASTIC PERIOD AND OLD KINGDOM
and beads, were recovered from a pit beneath the temple of the god Khenti-amenti
at Abydos. It is assumed that the objects were cleared out of the temple after they
were no longer needed. The date of the deposition of the materials is unclear.
William Flinders Petrie, who excavated the deposit, dated it to the middle of
Dynasty 2, while more recent work by Barry Kemp suggests a much wider range
of dates from the end of the Old Kingdom to early Dynasty r8. Although the
objects in the cache may date to various periods within that time span, the style of
this plaque strongly argues for an Early Dynastic date of manufacture.
The earliest examples of figurative art in relief appear on decorated mace heads,
palettes, and on the stelae that marked ceremonial burials at Abydos. This plaque
is from a temple context, hence it is an early-and rare-example of a votive
object commissioned by an individual to record his image, name, and titles to
accrue favor from the gods. The practice of placing non-funerary plaques or stelae
in temples by private devotees was strongly associated with Abydos. By the Middle
Kingdom, kings and private individuals alike constructed shrines to house com-
memorative stelae that allowed them to symbolically partake of the festivals of
renewal associated with the rituals of the god Osiris (see no. I5).
Only a tentative translation of the brief inscription can be suggested. Alternate

readings of the personal name and title are possible, and the geographic name
Hemen (also read Mehen or Mensk) is otherwise unattested.
Inscription:
Supervisor of Festivals (?), Netcherti of Hiemen(?).
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2.
EMEN GAME BOARD THE ANCIENT EGYPTIANS enjoyed a wide variety of board games. One game
Old Kingdom, Dynasties 3-6, in the form of a coiled serpent is named Mehen after a serpent deity who was
ca. 2707-2219 B.C.
thought to protect the sun god during his passage through the dark hours of the
Egyptian alabaster (calcite)
night. Texts indicate that Mehen imprisoned the enemies of the sun god within its
D: 14 3/4; H: 13/4 in (38 x 4.5 cm)
OIM 16950
coils, while other representations show Mehen protectively encircling the sun god.
The objective of the Mehen game was to travel along the coils of the snake's body
to reach the area where, symbolically, the sun god dwelled, and hence, to join that
god in his cycle of eternal rebirth. Two or four opponents started play at the tail,
which, for unknown reasons, is in the form of a duck's head. They moved the
game pieces, in the forms of small lions and round marbles, along the squares of
the serpent's coils.
There is considerable variety in Mehen games. Some have nearly 400 squares,
while this example has only 127, and the snake may be coiled in a clockwise or
counterclockwise direction. Mehen games have been recovered from Predynastic
and Old Kingdom sites. Although the game apparently fell out of favor after the Old
Kingdom, it is again depicted in scenes in Dynasty 26 (664 B.c.) tombs, the decora-
tion of which often incorporated entire scenes from much earlier monuments.
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3.
PANEL FROM THE TOMB OF THIS STONE PANEL COMES from the north doorjamb of the west wall ofthe
NEFERMAAT AND ITET facade of the tomb chapel of Itet at Medum. Itet was the wife of prince Nefermaat,
Old Kingdom, late Dynasty 3-early
who was probably the eldest son of King Huni. Nefermaat's half brother, King
Dynasty 4, reigns of Huni and
Snefru, built two great pyramids at Dahshur, and at least finished, if not entirely
Snefru, ca. 2639 B.C.
Limestone, colored paste built, the pyramid at Medum. Itet and her husband were buried in a double masta-
I-I: 118; W: 36 /4; D: 3 1/2 in ba equipped with two stone-lined chapels, one for him, the other for her. Although
(299.72 x 92.7 x 8.89 cm) this section of the decoration came from her tomb chapel, conventions of Egyptian
OlM 9002 art and rules of decorum, which gave the husband primacy of place over his wife,
dictated that Nefermaat be more prominently shown. He is standing in the top
register, while the smaller figure of Itet is shown in the middle register. The cou-
ple's two sons stand behind their mother. Four other sons, or grandsons, are
shown in the lowest register.
Like other sections of the tomb, this piece is remarkable for its technique. Rather
than being carved or painted, the limestone has been carved in rough sunk relief
and the recesses filled with colored paste. The recesses were left very rough, with
irregular indentations to allow the paste to adhere to the stone surface. It has been
suggested that since this technique is known only from the mastaba of Nefermaat
and Itet, and from an inscription on the base of a statue of their son, Hemiunu,
that Nefermaat himself invented it. The inscription before Nefermaat proclaims,
"He is one who made his images (literally "gods") in writing that cannot be
erased." The reference to "gods" is an allusion to the potency of hieroglyphic
texts-the "words of the god"-which were thought to have been given to
mankind by the gods. It is unclear if the evident pride in the accomplishment is
an indication that Nefermaat invented the new and attractive technique or that he
took satisfaction in knowing that the tomb could not be usurped by simply recut-
ting the inscriptions.
The huge mastaba of Nefermaat and Itet (tomb no. i6), stands to the northeast of
the ruined pyramid of Huni at Medum. The stone panels with inlaid paste were
widely dispersed between Cairo and other museum collections. Other sections of
the tomb chapels were painted rather than inlaid. The famous painting, "the
Medum geese," was recovered from the chapel of Itet.
Inscriptions:
Upper register: Nefermaat. He is one who made his images (literally: gods) in writing that cannot be erased.
Middle register: The King's Acquaintance, Itet; [Seref]-ka, Ankh-er-fened.
Lower register: Wehem-ka, Shepses-ka, Ankh-er-sheret-ef, Ka-khenet.
14
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EARLY DYNASTIC PPERIOD AND OLD KINGDOM
4.
FALSE DOOR OF NY-SU-REDI A FALSE DOOR is an architectural element found in tombs that was thought to
Old Kingdom, late Dynasty 4, give the soul of the deceased access from the dark underground burial chamber to
ca. 2500 B.C.
the decorated tomb chapel. False doors could be very elaborate, being composed of
Limestone
multiple jambs decorated with scenes and inscriptions and often, as here, with a
1-: 19 1/2;W: 12 1/2; D: /3 in
(50 x 32 x 6 cm) rectangular tablet that shows the deceased seated before a table of offerings.
OIM 10825
This false door came from the otherwise unknown tomb chapel of the Overseer of
the Craftsmen, Ny-su-redi. The rectangular tablet shows him seated, stretching
one arm toward the table of offerings that is heaped with stacks of tall loaves of
bread. He is seated on a stool with bovine legs and a papyrus umbel, a symbol of
rebirth, at the back.
The representation of the doorway opening is surrounded by a lintel and jambs

inscribed with the name and titles of the deceased. The spirit of Ny-su-redi, wearing
a simple wrapped kilt, is shown emerging from the door. Representations of the
deceased emerging from a false door show many variations in the Old Kingdom.
Some are done in low raised or sunk relief, while other false doors have complete
statues, which seem to be stepping from the burial shaft.
The cursory way in which Ny-su-redi's names are written toward the bottom of
each outer jamb is curious. Since the representation of the deceased and the other
inscriptions end roughly on the same level, it appears that the names were added
to the jambs as an afterthought. The false door may have originally been designed
to be installed in conjunction with an offering slab that would have obscured the
lower, then uninscribed, section. Perhaps the monument was ultimately displayed
by itself, and it was thought desirable to fill in the empty spaces on each side.
Inscriptions:
Left jamb: A gift that the king gives, [namely] a burial in the western necropolis and a good old age [to]
Ny-su-redi.
Right jamb: A gift that Anubis Lord of the [Sacred] Land [consisting of] invocation offerings for him of bread
and beer during the festival of Thoth and the wag festival [to] Ny-su-redi.
Horizontal text and right interior jamb: The Overseer of the Craftsmen, Ny-su-redi.
Inner jamb, left: The Inspector of the Craftsmen, Ny-su-redi.
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5.
THE CONFECTIONER, THIS STATUE REPRESENTS a man stiffly seated on a stool, his feet firmly
TCNENENET planted on the base upon which the stool is positioned. He wears a blunt-cut,
Old Kingdom, late Dynasty 4-
shoulder-length wig without a part, the strands of which are indicated by lines
early Dynasty 5, ca. 2504 B.C.
scored in the granite. He wears a knee-length kilt. The belt that secures the kilt is
Granite
l: 17 /4 in (45s.s cm) indicated across his back by two parallel lines.
OIM 14054
Granite, from which this statue is carved, was quarried at Aswan on the southern
border of Egypt. It was favored for private statuary in Dynasty 3 through the early
part of Dynasty 5, and thereafter it was largely replaced by limestone. Granite was
among the most laborious stones to work, for the copper tools used by the artists
were ineffective against it, and it had to be worked with pounders of harder stone
such as dolorite. Ironically, granite could not be finished as finely as the more
commonly used limestone, and hence granite statues tend to be coarse compared to
those of softer stones (compare nos. 7, 8, and 35). Unlike limestone statues that were
painted, those of granite were rarely pigmented other than for the eyes, lips, and
details of clothing. The lack of pigmentation may be due to a special reverence for
the mottled color of the granite. No trace of pigment is preserved on this example.
The rough texture of this granite almost obscures the brief text that appears on the
left and right of the feet and which gives the name of the owner and his profes-
sion "The Confectioner, Tchenenet." It is not known in what sort of institution he
worked. Statues of granite are usually restricted to people of high rank who could
"afford" a luxury product, yet the title of Tchenenet does not indicate that he was
of the cultural elite.
This statue was probably constructed for the tomb of Tchenenet. It was intended
to preserve his likeness for eternity and to provide an abode for his spirit (ka) after
his death. A lintel from a like-named man was discovered near Giza, suggesting
that this statue may be from the same area.
Inscription:
The confectioner, Tchenenet.
18
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6.
SINGERS AND DANCERS S C E N E S O F S I N GE R S and dancers are not uncommon in Old Kingdom tombs.
Old Kingdom, Dynasty 5, This fragment from an unidentified tomb shows two women and the hands of a
ca. 2504-2347 B.C.
third figure to the far left. The women on the left clap their hands to keep time to
Limestone
the music, while the woman on the right raises one hand and places the other on
H: 14 /8; W: 11; D: 115/16 in
her hip as she dances. The women wear short, rounded hairstyles and tight-fitting
(37 x 28 x 5 cm)
OIM 10590 dresses with wide shoulder straps and broad collar necklaces. The woman to the
right also wears a sash tied at her hip. This ornament is characteristic garb for
members of a group of professional musicians called khener who were employed
by the palace, temples, and funerary estates. Scenes of these performers are
known from tombs as early as Dynasty 4 (ca. 2639 B.c.) where they dance in asso-
ciation with funerary offering rites or funerary processions. A scene of khener in
the tomb of Neb-kau-hor at Sakkara is captioned "beautiful dancing for your ka
every day," indicating that the dancers would perform for the deceased eternally in
the afterlife. Other scenes associate the khener with Hathor-a goddess associated
with dancing-suggesting that the dances invoked that deity, and hence her bless-
ings, for the deceased.
It is unclear if the fragmentary inscription above the women should be restored as

the commonly encountered phrase "singing for the khener or "singing to ...
(whatever type of musical instrument was shown beside the women)."
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"SERVANT" STATUES FROM THE THE ANCIENT EGYPTIANS believed that the afterlife was essentially a contin-
TOMB OF NY-KAU-INPU uation of life on earth and that the soul of the deceased had the same material
Old Kingdom, Dynasty 5, probably
requirements in death as in life. They also believed that food and the pleasurable
reign of Niuserre, ca. 2445-2414 B.C.
activities of daily life could be guaranteed in the afterlife by representing them in
Limestone, pigment
the tomb. Therefore, tomb chapels were decorated with carved and painted scenes,
and some were equipped with models of goods and activities that the deceased
wished to possess for eternity.
These statues are part of a group of twenty-five figures from the tomb of a ceme-
tery official named Ny-kau-inpu. These figurines, the largest known group pre-
served from a single tomb, include the tomb owner and his wife, his sons and
daughters, members of his household staff, and a model of a granary (see below).
The standard offerings made to the deceased were bread, beer, oxen, and fowl-
the same things that the statuettes are shown preparing. Other figures are shown
making music, while the function of yet others (the statuettes showing leapfrog or
spanking, and the dwarf with a bundle over his shoulder) is unclear. Unlike most
such statuettes, several of the figures are identified as family members by brief
hieroglyphic texts.
These stone statuettes evolved into wood models typical of the late Old Kingdom
and Middle Kingdom (see no. 13). These were then replaced by ushebtis of the
Second Intermediate Period and later. Although the theological basis of the fig-
urines changed over time, they all shared the function of providing service to the
deceased in the afterlife.
Statues from the tomb of Ny-kau-

inpu, showing family members and
musicians (top row) and the produc-
tion of bread, food offerings, pottery,
and miscellaneous themes (middle
and bottom rows).
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NY-KAU-INPU AND HIS WIFE,

HEMET-RA-DJET
T H E H I E RO GLY P H I C TEXT on the base of this statue indicates that it repre-
H: 20 /5;s W: 13 /2; D: 9 3/4 in sents the tomb owner Ny-kau-inpu and his wife Hemet-ra-djet. The woman places
(52.4 x 34.7 x 25.3 cm) her arm affectionately around her husband's shoulder. Her other arm, of exagger-
DIM 10618 ated length, is stiffly at her side, the fingers extended. She wears a blunt-cut wig of
curls or braids, and her own hair is visible at the hairline. Her face is broad and
dominated by her large and heavy nose; her eyes are placed high on her face. Her
tight, heavily pleated dress with wide shoulder straps emphasizes the roundness of
her belly and thighs. Her skin is painted a light yellow.
Her husband wears a traditional Old Kingdom wrapped kilt with an inverted pleat
on the front. The loop of the knot that secures the kilt is visible at his waistline.
He wears a rounded wig. The proportions of his body are highly abstracted; the
distance from his foot to knee is very short while the length from his knee to his
waist is overly long. His limbs (as well as the arms of his wife), are strangely flat-
tened and detailed with the indication of muscles and tendons. Each hand grasps a
rounded cylinder which may be an abbreviated staff or simply the indication of
negative space, although that area was not painted black as was the area between
the man's legs and between his toes. The figures are attached to a thick rectangular
back pillar. The woman stands away from the background, leaving considerable
stone between her and the support. Unlike the majority of Old Kingdom statues,
here the woman stands to her husband's right.
WOMAN MASHING BEER H E R E A WOMAN, identified as a daughter of Ny-kau-inpu, pushes a round

HI: 11 7/8; W: 4 /2; D: 8' /4 in
sieve into a vat of beer as she strains the fermented bread from the liquid. The
(30.5 x 11.7x 21.2 cm)
large vat is steadied by four supports, made of perhaps rocks or mud. The woman
OI M 10635
wears a simple wrapped kilt which reaches her mid-chest, leaving her breasts bare.
A fabric cap covers much of her hair. The sculptor has managed to express the
movement of the woman by portraying her left arm straight, as she supports her-
self on the edge of the vat. Her right shoulder is lower, her arm bent as she scoops
from the vessel. The bend of the knees and the angle of her back further empha-
size the effort expended in her activity.
23
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Two HARPISTS AMONG THE MOST CHARMING of the Ny-kau-inpu statuettes are three
Male Dwarf Harpist
harpists, two of which are pictured here. They lean large shovel-shaped floor harps
H: 4 3/4; W: 2 3/4; D: 3 3/4 in
upon their left shoulders and pluck the strings with their right hands. The upper
(12.5 x 7.2 x 9.6 cm)
OIM 10641 section of each harp neck has been broken away. The left ear of the male harpist is
folded out by the pressure of the harp. They wear similar garments (indicated in
Female Harpist
H: 8 '/8; W: 4 3/a; D: 6'/4 in paint or by carving) with a single broad strap that crosses the left shoulder and
(20.7 x 11 x 16.1 cm) leaves the right shoulder bare. The woman's hair (or wig) is blunt-cut, the curls or
OIM 10642 braids indicated by crosshatching. She sits with her knees bent, her left leg under
her, the foot turned upward as it emerges from under her right ankle. Her skin
is painted the same medium yellow tone as that of the third male harpist of the
Ny-kau-inpu group (not pictured).
The dwarfs short legs are stretched out on either side of his harp. His hair is
closely cut and his hairline is indicated in relief. Dwarfs were not uncommonly
depicted in ancient Egyptian art, and there are references to dwarfs in the court
where they served and amused the king.
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POTTER
T H E R E A R E M A NY two dimensional scenes of potters at work; however, this
H: 51/4; W: 2 5/8; D: 43/4 in
statue is a unique example of this genre in the round. The potter crouches before
(13.2 x 6.7 x 12.5 cm)
OIM 10628
a potter's wheel which, in this period, is in the form of a low turntable. He turns
the platform with his left hand while his right hand forms the rim of the vessel.
The arduousness of the potter's profession is indicated by the way the ribs (repre-
sented as parallel lines) stand out on the man's arched back, the thinness of his
legs, and the prominence of his collarbones. He is thin, and his hairline has heavily
receded, suggesting a long life of hard work such as that described in the ancient
text The Satire on the Trades: "He [the potter] grubs in the mud more than a pig, in
order to fire his pots; His clothes are stiff with clay; He makes a pounding with
his feet, and he himself is crushed. He grubs the yard of every house and roams
the public places."
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8.
NEN-KHEFET-KA AND HIS WIFE THIS STATUE OF NEN-KHEFET-KA being embraced by his wife Nefer-
NEFER-SHEMES shemes incorporates the essential elements of Old Kingdom funerary statues: the
Old Kingdom, Dynasty 5, representation of the deceased in imperishable stone and the individual's names
reigns of Menkauhor and Unis.,
and titles. Nen-khefet-ka wears a knee-length kilt with a starched inverted pleat.
ca. 2414-2347 B.C.
The fabric belt is knotted near his navel. His wig is in the heavy curled style
Limestone, pigment
H: 27 in (69.3 cm); Base: H: 131/4; favored during this period. The area within his clenched fists is sculpted to perhaps
W: 113/4; D: 7/ in (34 x 30 x 2.3 cm) represent empty space, for to actually hollow out the hands would have left them
O1M 2036 A-B vulnerable to damage.
As was typical of Old Kingdom statuary, the flesh of the male is painted a reddish-
orange while the woman is a pale yellow, perhaps an allusion to the more sheltered
female who did not work outside in the sun. Nefer-shemes wears a tightly fitted
white, v-neck gown and a green choker. Her own hair is visible on her forehead
emerging from beneath her heavy blunt-cut wig.
The statue is socketed into a separate slightly trapezoidal base, which is incised
with the name and titles of the deceased.
In 1897, when Flinders Petrie excavated the statue chamber (serdab) of the ruined
mastaba of Nen-khefet-ka at Deshasheh, he found fragments of at least twelve
statues, all of which, including this example, had been deliberately smashed in
antiquity. This damage may have been inflicted upon the figures by an enemy of
the tomb owner in an attempt to "kill" him in the afterlife. Other statues of Nen-
khefet-ka are in the Museum of Fine Arts Boston, the Museum of Archaeology
and Anthropology at the University of Pennsylvania, The British Museum, and the
Egyptian Museum, Cairo.
The press, clearly infected by the enthusiasm of James Henry Breasted, announced
the 1897 arrival of this statue in Chicago thus: "In September, Nen Khefetka and
his wife, millionaire nobles who flourished on the banks of the Nile about three
thousand years before the birth of Christ, will hold a formal reception at the Haskell
Museum for the faculty of the board of trustees and 'friends of the university.'"
Inscription:
Overseer of Commissions, King's Acquaintance, Chief of the Southern Goat City, Royal Priest, King's
Acquaintance, Nen-khefet-ka.
26
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9.
LINTEL OF KHA-BAU-PTAH KHA-BAU-PTAH WAS AN OFFICIAL who served as a priest of the funerary
Old Kingdom, Dynasty 5., reign of cults of the Dynasty 5 kings Sahure, Neferirkare, and Niuserre, as well as being
Niuserre or later, ca. 2445-2414 B.C.
a priest of Re and Hathor in the Sun Temple of Neferirkare. This left hand
Limestone
section of a lintel from his tomb at Sakkara indicates that he also served as the
L: 291/4; W: 123/8; D: 1'/2 in
"Overseer of Royal Manicurists." The false door from that tomb also records the
(75x32x4cm)
OIM o08s5 title "Overseer of the Royal Hairdressers." The combination of such positions is a
reminder that many priestly positions were part-time, allowing the priest to pursue
a variety of occupations.
On this lintel, Kha-bau-ptah sits on a stool whose bovine-shaped legs rest on

drums. He holds a scepter in his right hand, a staff of rank in his left. Details
of his dress may have been added in paint which is now eroded. The tomb was
discovered by Auguste Mariette in 1877.
Inscription:
The one revered by the great god, [revered] by the king, beloved of his lord, the Overseer of the Royal
Manicurists, Kha-bau-ptah.
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10.
A WARNING TO TOMB ROBBERS
Old Kingdom, late Dynasty 6,
ca. 2219 B.C.
Limestone
-I: 181/4; W: 16 5/s; D: 1 5/8in
(46.6 x 42.7 x 4 cm)
OIM 10814
Sakkara. Biw, who bore the titles "Lector Priest" and "Sole Companion of the
King," wears a broad collar necklace, a short goatee, and holds a staff, a symbol of
his rank. The fragment of the text above his head can be reconstructed from other
similar texts as a warning that "Anyone who enters this tomb unlawfully, I will
seize him like a bird." Tomb chapels, with their decorated walls, were open to
those who wished to say a prayer on behalf of the deceased, and this type of text is
a vivid reminder that even in the Old Kingdom, vandals were of concern to the
tomb owner.
The fragment is carved in sunk relief in a flat, unornamented style with little detail
added to the interior of the hieroglyphs. Biw's eye, indicated by a simple oval, is
greatly out of scale to his face, and his arms are depicted as dropping stiffly from
his broad shoulders. These stylistic features, which are characteristic of the late Old
Kingdom, were imitated by artists of Dynasty 26, some 1,500 years later.
Inscription:
Biw, he says.., this tomb... a bird... necropolis. The Sole Companion, Biw.
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EAPLY DYNASTIC PE_ OD AND OLD KINGDOM
11.
THE ROYAL HERALD, NENI THIS STATU E O F A MAN named Neni was discovered in the statue chamber
Old Kingdom, Dynasty 6, (serdab) of his tomb at Sedment in Middle Egypt. The statue was intended to serve
ca. 2347-2216 B.C.
as the abode for the soul of the deceased and to receive offerings that were left in
Wood, gesso, paint, red ochre
the tomb.
H: 251/3 (65 cm); Base: W: 63/4;
D: 15; H: 1 / in (17.1 x 38.1 x 4 cm) Neni is shown with his left foot advanced. He is slender, and his head is greatly
OI M 11489
oversized for his body, making him appear almost juvenile. It is rare to see a figure
this large carved of a single piece of wood. The statue has been set into a separate
rectangular base that is inscribed with three lines of hieroglyphic text arranged
perpendicular to the statue.
Neni is depicted wearing the classic late Old Kingdom-First Intermediate mid-calf
length kilt with a stiff triangular pleat in the front. Wooden statues of courtiers of
the Old Kingdom commonly either hold a staff in their left hand and a scepter (or
the indication of a truncated scepter) in their right, to indicate their presumed rank,
or they stand with their hands stiffly at their sides. The pose shown here, in which
the individual grasps the edge of his garment with his right hand, is known from
other examples from the late Old Kingdom and the Middle Kingdom. Traces of dark
reddish brown pigment over areas of skin indicate that the statue was originally
tinted in the color traditionally associated with males.
Inscription:
The Sole Companion of the King, the Royal Herald, the Staff Bearer, the Support of Ken-mut, Neni. A gift
which the king gives to Anubis who is upon his mountain, that he may give offerings to the revered one Neni,
the revered one who is revered by the great god, Neni.
30
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12.
UHA AND HIS WIFE H4ENUT-SEN
First Intermediate Period,
Dynasties 7-11, ca. 2219-1995 B.C.
Limestone, pigment
H-I:43'/2; W: 273/4 in (111.7x 71.1cm)
QIM 16956
FUNERARY STELAE WERE ERECTED in private tomb chapels to commemo-

rate the name, career, and exemplary behavior of the deceased for eternity. As visi-
tors to the tomb chapel read and recited the inscriptions incised upon the stelae,
the memory of the deceased was evoked among the living. As related in the tomb of
Pet-osiris some ,50oo years later, "a man is revived when his name is pronounced."
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FIRST INTERMEDIATE PERIOD AND MIDDLE KINGDOM
Uha, who bore the titles "Seal Bearer of the King" and "Lector Priest," is shown
with his wife Henut-sen. The monument was commissioned by, and for, Uha,
hence his wife as a subsidiary figure was shown on a much smaller scale. It was
customary for married couples to be shown embracing and the artist cleverly
solved the problem of the inequities of height by having Henut-sen place her arm
around her husband's wrist rather than, as was customary, around his shoulder.
Uha wears the traditional wrapped skirt with looped knot at the waist, a broad col-
lar necklace, bracelets, and a heavily curled wig. He holds a long staff and a
scepter, both of which were common symbols of authority for mid-rank officials.
Art of the First Intermediate Period more freely mixed images of completely dif-
ferent scales within a single scene. Here, men of diminutive scale make offerings
to Uha. The man closest to him pours a beverage into a round-bottom drinking
bowl in front of his mouth while the others behind and slightly below offer a
haunch of beef, a gazelle, and a bird. An offering table with five small pots, three
larger liquid offering vessels, and two large baskets appear near Uha's left arm.
The bright and varied colors employed in this stela, the wide shoulders of Uha, and
his long, thin, arms are all characteristic of art of the First Intermediate Period.
The texts include a conventional prayer that called upon anyone who came into the
tomb chapel to admire the reliefs and to utter an invocation on behalf of the
deceased. The long horizontal text contains the basic precepts of Egyptian morali-
ty: hard work, geniality, loyalty to one's family, and advancement upon one's own
merit. It also contains an apparent reference to Uha's circumcision "along with
120 men." Although there is no evidence for rituals of mass circumcision, the fol-
lowing phrase "there was none whom I struck, and none who struck me, there
was none whom I scratched and none who scratched me," does suggest such a rit-
ual. The few sources that we have on male circumcision suggest that it took place
when the boy was pre-adolescent, but certainly not an infant. Why Uha would
mention it so prominently on his stela is not known.
Inscriptions:
Horizontal registers: An offering which the king gives to Anubis who is Upon his Mountain, Who is in the
Wrapping, Lord of the Sacred Land [that he may give] funerary offerings consisting of bread and beer, to the
count, the seal bearer of Lower Egypt, the Sole Companion, the Lector Priest, the One revered by the
Great God, Lord of I-leaven, Uha, justified. He says: "Iwas one beloved of his father, praised by his mother,
one whom his brothers and sisters love. When I was circumcised along with 120 men, there was none whom
1struck, and none who struck me, there was none whom I scratched and none who scratched me. 1was an
excellent citizen who lived by his [own] possessions, who ploughed with his [own] team of oxen, who sailed
in his [own] boat, not with what I received from the hand of my father Uha (senior).
Vertical text: Oh living ones upon earth, you shall say, "A thousand of bread, beer, oxen, and fowl, and a
thousand of every good thing for the revered one, the count, Uha.'
Above Henut-sen: His wife, the Sole Poyal Ornament, Priestess of -lathor, the revered one, Henut-sen.
34
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13.
MODEL WORKSHOP M ODELS OF WORKSHOPS were placed in tombs, for it was believed that the
First Intermediate Period, tiny figures of the model could eternally provide the services or goods portrayed for
Dynasties 9-10, ca. 2170-2025 B.C.
the deceased in the afterlife. Wooden workshop models, staffed by many workers,
Wood, gesso, pigment, linen
are characteristic of the Middle Kingdom. They are derived from simpler Old
W: 14; D: 8; H: 4'/2 in
Kingdom statues of workers which were either singly, or in groups, deposited in
(36 x 23 x 11.5 cm)
OIM 11495 tombs (see no. 7). The Middle Kingdom versions were less expensive and easier to
manufacture than the earlier stone examples. This model was excavated by Petrie
and Brunton at Sedmet El Gebel (the necropolis of Herakleopolis), where it was dis-
covered in a statue niche (serdab) cut into the east wall of a tomb's burial chamber.
This model workshop combines the industries of baking, brewing, and slaughtering,
which produced the components for the standard funerary offerings of bread, beer,
and oxen. These fundamental needs were thereby met by one economical model.
Baking and brewing were closely associated, for beer was made from bread mash.
The first step in the process is represented by a woman bent over a hand mill,
grinding grain into flour (shown in the lower left-hand corner). Another woman
seated near the mill assists, collecting the flour into a basket (now lost). The rec-
tangular striped object may be an inverted basket. The stout cylinder with a jar on
top is a brazier, perhaps for cooking the mash. Five beer jars with dark mud stop-
pers sit in a basket. Two larger white jars separate this scene from that of the
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FIRST INTERMEDIATE PERIOD AND MIDDLE KINGDOM
slaughter. The two round vats at the cow's back are difficult to interpret. The geo-
metric markings on the top of the one attended by the man suggest that he may
be engaged in sieving the beer mash (see no. 7). Most of the figures employed in
bread and beer production are, as indicated by the lighter tone of their skin,
women, while the butchers, with their darker reddish skin, are men.
A trussed cow, with its neck upturned, lies amongst the butchers. Its tail, which is
curled up over its flank, is indicated in paint. A man with a knife stands above the
cow's neck while another man collects blood that spurts from the severed neck.
A similar model from the tomb of Meketre suggests that the cylinder at the cow's
back is a pot of blood which was collected to make blood pudding. The man hold-
ing a fan with which to fan the fire is a common element in cooking scenes. His
presence suggests that the vat of blood at the corner of the model is supposed to
be above a brazier used to cook the pudding.
As is typical of models of the First Intermediate Period, the workers are highly
abstracted stick figures with peg-like limbs. The artist seems to have had only
two alternatives for producing the figures-either standing or sitting. Therefore,
the workers who are supposed to bend over the vats or the cow are simply standing
figures who lean rather than bend. The faces are very rudimentary with beak-like
noses. The hair of the male and female workers is nearly the same. The eyes
are indicated in paint and each figure is wrapped in a small piece of linen to
suggest clothing.
14.
A LETTER TO THE DEAD THE ANCI ENT EGYPTIANS believed that the barrier between the worlds of
First Intermediate Period, the living and the dead was permeable and that people could communicate with
Dynasty 11,ca. 2119-1976 B.C.
the deceased by various means including the written word. Such written commu-
Baked clay, pigment
nications, called Letters to the Dead, are first attested in the Old Kingdom (ca.
I-I:8 7/ (23 cm); D (top): 3'/2 in (9 cm)
2500 B.c.). The letters, usually an appeal for help from a deceased relative, were
OlM 13945
written on papyrus, linen, or pottery figurines, but most commonly on clay bowls
into which offerings may have been placed to attract the spirit of the deceased.
The letters were most probably left in the tomb chapel, where the spirit would
easily find them.
Many of the letters begin with a summary of the individual's situation, giving the
impression that it is a reminder of a previous communication, perhaps a prayer
said earlier. The letters often include a promise that the petitioner will give the
deceased a reward, such as food offerings, in return for his or her assistance.
Many of the letters refer to individuals-living or dead-whom the writer thinks
are responsible for the problems the writer faces, and contain a plea for the
deceased to litigate against them from the beyond.
This letter is written on a pottery jar stand in eight vertical columns in flowing hier-
atic (cursive hieroglyphic) script. The letter is from an unidentified man to his
deceased father, asking him to assist in the birth of a son to his wife Seny. In the
36
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letter the man requests his father to act against two female servants whom the man
blames for his wife's inability to bear a son. A supplementary line was added with
the comment: "Moreover, I beg a second healthy male child for your daughter."
Inscription:
This is a reminder of what I said to you: You know that Idu said about his son, "As for whatever may be there,
I will not allow him to be harmed by any affliction." Do the same for me. Indeed, now this vessel is brought
[to you] in order that your mother can make litigation. It is agreeable that you should support her. Let a
healthy male child be born to me. You are an excellent spirit. Indeed, as for those two, the servants who
have caused Seny to be afflicted (named) Nefert-chent and Itjai, destroy them and destroy every affliction
that is against my wife, for you know that I want it. Destroy it completely! As you live for me, the Great One
will praise you, and the face of the great god will be glad over you. He will give you pure bread with his two
hands. Moreover, I beg a second healthy male child for your daughter.
37
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FIPST INTERMEDIATE PERIOD AND MIDDLE KINGDOM
-,~- -,-- -
/ i
2-'-
I--
, r-
15.
STELA OF THE HOUSEHOLD
OF SENBU
Middle Kingdom, late Dynasty 12,
early Dynasty 13, ca. 1794-1648 B.C. i:t J-' ~A i.
Limestone
H-: 18 3/4; W: 11 /4; D: 3'/2 in
(48 x 30 x 9 cm)
OIM 6739
STE LAE LIKE TH IS ONE were erected by individuals, or by entire households,

in commemorative chapels in northern Abydos, a site that had special sanctity
because of its association with funerary deities. The chapels, some of which were
associated with burials, were located along the route for the annual procession for
religious festivals of Osiris. The act of placing a stela with an image of oneself in
such a chapel was thought to enable the devotee to participate symbolically in the
festivals of renewal enacted for the god, and also to benefit from the offerings that
were left for the deity.
oi.uchicago.edu
This monument calls upon Wepwawet, another deity of the necropolis at Abydos,
who is shown twice at the top of the stela as a recumbent jackal, to grant funerary
offerings in the afterlife. The uppermost register shows a man named Senbu seated
before a table of funerary offerings. His wife, Sat-sobek, is seated on the ground
opposite him with a small table of offerings before her. The lower registers are
divided into six boxes in which other members of Senbu's household are shown.
Below Senbu are two "Mistresses of the House" who have no defined relationship
to Senbu, and to the right, two half-sisters ("his sister of his mother") presumably
of Senbu. The third register shows the family's baker and his wife (left), their
daughter and the baker's mother (right). The lowest register portrays a female
servant and her son (left), and the household's brewer and his sister (right).
The women are dressed in long tight-fitting dresses. Nine of the ten wear long
hair (or wigs) whose tresses fall over the shoulder. The female servant wears her
hair in a high ponytail, a style associated with servant girls. The men hold a folded
handkerchief, while the women touch their hands to their chest in a sign of devo-
tion to the god.
Stelae that show households, or groups of palace personnel, are not uncommon in
the late Middle Kingdom. It cannot always be determined whether such a stela
was commissioned by the most prestigious person-here Senbu-or if it was
made by the household staff who included their employer as a mark of respect.
The fact that five of the six lower sections of the stela are given over to servants
and their families, and that they are shown essentially in the same dress, position
and size as Senbu and his family, suggests that the staff may have commissioned
this example. The figures on many better-preserved examples of this type of stela
were originally painted in blue or green pigment which would have helped distin-
guish the very low sunk relief carving.
Inscriptions:
Top register: A gift that the king gives to Wepwawet, Lord of the Sacred Land (i.e., the necropolis) that he
may give invocation offerings consisting of bead, beer, oxen, and fowl, clothing, alabaster, and incense to
the spirit of the Overseer of the Phyle, Senbu, justified. His beloved wife, Mistress of the House, Sat-sobek,
justified.
2nd register: the Mistress of the House Ren-(es)-seneb, possessor of veneration; the Mistress of the House
Senebu-Res his sister of his mother (his half sister) Ren-ef-res; his sister of his mother (half-sister) Nakhti.
3rd register: The baker Ren-ef-seneb; his beloved wife, the Mistress of the House, Dedi, his daughter
Sat- Inher; his mother Hetep-ni.
4th register: Her [Ren-es-res'] son Nefu-en-senebu; the servant Ren-es-res; the brewer Sa-ankhi; his sister
Dedu-inher.
39
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ThirdInterediat
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16.
NAKHT AND SETH-ANTEWY
New Kingdom, Dynasty 18, reigns of
Amunhotep I to Amunhotep II,
ca. 1526-1400 B.C.
Limestone
H: 113/4; W: 8 7/8; D: 23/4 in
(30.2 x 22.7 x 7 cm)
OIM 10510
THIS STELA SHOWS THE SCRIBE of the tax assessors, Nakht, making offer-
ings to a deity shown with a curved snout and erect ears, a form usually associated
with the god Seth. The god wears a short kilt and he holds an ankh, the hieroglyph
for "life" and a tall, slender, was scepter, the symbol for "dominion." The tail of a
bull (see no. 24), a symbol of virility and power, is shown in front of his legs.
Nakht wears layered skirts and a short-sleeved tunic that ties at the neck. His wig,
or hair, is worn in a short rounded style. He stands behind a table heaped with
loaves, vegetables, and the head of a cow. He pours a liquid offering from a round
bottom vessel into a basin, and he elevates a stand with a burnt offering of a fowl
and a round bread loaf. A small flame emerges from the offering stand.
The text on the stela identifies the god in two different ways. The inscription in
front of the god refers to him as Antewy, a combined form of Horus and Seth,
oi.uchicago.edu
NEW KINGDOM AND THIRD INTERMEDIATE PERIOD
while the horizontal text below the offering scene calls him Seth. This dual identi-
ty is a reflection of the belief that a god could have more than one nature-and
that he or she could have the attributes of several deities in order to express the
extended power of the god.
The Egyptians viewed Seth with a certain ambivalence on account of his legendary
murder of his brother Osiris. Seth was revered in his role of the enemy of the evil
god Apophis, and in the New Kingdom Underworld books, as on this stela, he was
combined with Horus as the "Two Gods" (i.e., Horus and Seth), or "He of the Two
Faces." Theophoric names such as "Seti," which were popular in Dynasties 18
through 20, also indicate the cult of Seth was again viewed favorably.
The lunette of the stela is decorated with a hybrid composition. Rather than the
more commonly seen winged disk of Behdeti, the god of Edfu (see no. 43), or double
eyes, here a winged disk with a single wing appears alongside a single eye. In such
compositions, the winged disk appears over the deity, or the superior member of
the composition, and the eye over the officiate. The parallelism is thought to com-
bine the protection inherent in the eye of Horus with that of the ancient winged
sun disk of Behdeti.
Inscriptions:
Upper section: Making offerings of every thing, making liquid and incense offerings to this noble god-may
you content yourself with everything that you desire by the Scribe of the Tax Assessors, Nakht.
Lower section: A gift that the king gives to Seth, Lord of Tjebu (modern Qaw el Kebir) and to Mut, Mistress
of Megeb (a site near Qaw el Kebir), that they may give life, prosperity, health, alertness, praise, love, and
being on earth in their following, to the spirit of the Scribe of the Tax Assessors, a truly excellent man,
whose character everyone knows; Nakht, of the estate of Mut.
42
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17.
FUNERARY FIGURE OF
KENAMUN
New Kingdom, Dynasty 18, reign of
Amunhotep II, ca. 1428-1400 B.C.
Wood, pigment
H: 14 /2; W: 4 /2 in (37 x 11cm)
OIM 25648
t
i
THIS FUNERARY STATUETTE inscribed for Kenamun is from a cache of

figures buried near Abu Ghurob. Although it resembles a mummiform ushebti
(servant statue), the inscription, and the fact that the statue was not from a tomb,
indicate that it was made to commemorate the memory of Kenamun rather than
to serve as a servant in the afterlife.
Kenamun, who held the title "Hereditary Prince and Count and Overseer of
Cattle" was closely associated with the royal court. His mother served as nurse to
the future Amunhotep II, and thus we assume that Kenamun grew up in the royal
household. His relatively modest titles belie his real influence and wealth. His
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beautifully decorated tomb (Theban tomb 93) in western Thebes was decorated by
the best-trained workmen, and the inscriptions on the statuettes indicate that they
were made in the royal workshop.
Several deposits of Kenamun funerary figurines have been discovered. The largest
group, to which this figure probably belonged, was discovered by illicit diggers in
1915, and an additional group of approximately seventy figures was discovered at
the same site during government excavations in i919. The later excavation was
motivated by illicit digging that was interrupted. As a government agent recorded:
"On the evening of the 7 th of September 1919 ... the gaffir (guardian) Mohamed
Bahur was making his usual round; while at a distance of some 20 or 30 metres
from the threatened spot, he saw six persons digging. Before he could recognize
them, they began firing on him with revolvers-fortunately he was not touched.
Finding himself in danger, he took cover behind a donkey standing there and fired
in return..."
A third cache of Kenamun figures from Abydos contained another funerary statue
(OIM 18210) that was buried near a figure of the king (OIM 5657), again an indi-
cation of the king's favor to Kenamun.
Inscription:
Made as a favor of the king for the Hereditary Prince and Count, Overseer of the Cattle of Amun, Kenamun.
18.
CHILD'S TUNIC THIS SIMPLE GARMENT is made of a length of almost diaphanous linen.
New Kingdom, Dynasty 18, The finely woven fabric has selvages on both sides. It has been folded in half and
ca. 1473 B.c. the sides seamed from the hem upward, leaving a ten-and-a-quarter inch arm
Linen
opening to serve as a slightly capped sleeve. The bottom hem is rolled, and the
L: 37 5/8; W: 28 3/8 in (97 x 73 cm)
hem is whipped. The key-hole shaped neck opening was cut out of the fabric and
OMl 18285
the rough edges carefully turned and stitched. The short length and the small neck
opening (seven-and-a-half inches in length and five inches wide) suggest that it
was made for a child. The base of the neck opening is ripped as if someone, in
antiquity, tore the neck trying to fit it over his or her head.
This garment points out difficulties in interpreting Egyptian art. Most representa-
tions of clothing (see nos. 7, 8) show elaborate form-fitting dresses while most
actual examples of Egyptian clothing are simple, sack-like garments similar to this
one. Most depictions of children show them naked or dressed in a simple belt.
This discrepancy between the artistic and archaeological record may be due to
the artists' desire to emphasize the sensuality of the human body-a reflection of
fertility as a focus of religious beliefs.
This tunic was one of three similar garments discovered among mummy wrap-
pings in an anonymous burial at Gourna. That burial was covered by debris from
the construction of the tomb of Senenmut (Theban Tomb 353), indicating that the
burial, and hence the tunics, must be earlier than the building of Senenmut's
tomb. The tunics are very similar in style to others recovered from the tomb of
Ramose and Hat-nofer, the parents of Senenmut.
44
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19.
STATUE OF A GOD THIS SLIGHTLY UNDER - LIFE - SIZE fragment ofa statue represents an
New Kingdom. Dynasty 18. reign of unidentified god. He wears a tripartite wig, the hair indicated by striations that
Amunhotep Ill, ca. 1390-1353 B.C.
pass directly over the crown of the head. His false beard is indicated by a braided
Granodiorite
pattern executed in high relief. He wears a broad collar necklace and carries a staff
H-: 261/8; W: 15-/4; D: 10 in
(67.2 x 40.7 x 25.5 cm)
in the form of a was, the hieroglyphic sign for "dominion." The eyes are almond-
OIM 10607 shaped, and the upper and lower lids are marked by heavy bands that extend into a
long straight cosmetic line.
The identity of the god represented by this statue cannot be determined because it
lacks distinctive attributes, or an inscription, that would associate it with a particu-
lar deity. Although it has been suggested that it represents Tatenen, one of the
creator gods, the statue lacks the distinctive horned crown of that deity.
The style of the statue, and the use of black granodiorite, clearly indicate that it
was one in an extensive series of divine images commissioned by Amunhotep Ill.
Hundreds of statues, the majority portraying the goddess Sekhmet, were produced
in his reign. They have been recovered from the Sudan, as well as from many loca-
tions through the Egyptian Nile Valley. Most are in hard black granodiorite, the
color of which may be evocative of the dark earth, and hence fertility and rejuvena-
tion. While the place where this example originally stood is unknown, many others
like it, carved from the same stone, have been found in the ruins of the mortuary
temple of Amunhotep III in western Thebes.
As was common in ancient Egypt, the facial features of this statue were closely
patterned upon statues of the king himself, stressing the pharaoh's divine aspect
and his association with the gods.
46
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4:
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T
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NEW KINGDOM AND TI-IRD INTERMEDIATE PERIOD
20.
GAME OF TWENTY SQUARES THE GAME OF TWENTY SQUARES was popular throughout the ancient Near
New Kingdom, Dynasties 18-19, East, and examples have been recovered from Mesopotamia, Syria, Palestine, and
ca. 15so50-1070 B.C.
Cyprus as well as Egypt. The earliest examples, dated to 2600 B.c., were recovered
Wood
from the royal tombs at Ur in Iraq.
L: 71/2; W: 2 2/3 in (19.3 x 7 cm)
OlM 371
The game was played by two opponents, each of whom had five playing pieces.
The game pieces were made in many shapes and of materials such as stone, glass,
faience, and pottery. Play began with the pieces lined up on the undecorated sur-
faces of the board, then moved down the side squares and up the middle of the
board. The first player to successfully remove all his pieces from the board won
the game. Part of the strategy of the game involved creating an obstacle of two or
more pieces which could not be passed by the opponent's markers. Many boards
have special markings indicating hazards and advantages. This game is related,
but not identical to, another game called senet which had three rows of ten
squares. Unlike many rectangular game boards which are double-sided (one side
for the game of Twenty Squares, the other for senet), the bottom of this example
is unmarked.
The number of moves while playing was determined by throw sticks, astragali
(knucklebones), or square or tetrahedral dice. Square dice appear in Egypt in the late
New Kingdom (late second millennium B.C.). As with modern dice, the examples
from Egypt and the ancient Near East have opposing sides whose sum equals seven.
Board games were more than simple recreation. Scenes in tombs show a single
player seated before a senet board or game of Twenty Squares equipped with two
sets of markers, yet without a visible opponent, suggesting that the unseen player
is the judge of the afterlife or the forces of evil and that winning the game was
allegorically linked to rebirth. This theological symbolism is further reinforced by
the name "senet," which means "passing," hence a reference to the journey
through the underworld to rebirth.
48
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NEW KINGDOM AND TI-PD INTERMEDIAT[ PERIOD
21.
DETAIL OF A FUNERARY
PROCESSION
New Kingdom, Dynasty 18, reigns of
Thutmose IVAmunhotep III,
a 1400 1353 e C.
M ud bri ck,
plaster, p igm
enti
P1 15'- Wi17; D 2 ,/ain
(40 x 43.5 x 5.8 cm)
OIM 11047
THI S FRAGMENT FROM THE WALL of the tomb of Huy at Thebes once was
part of an elaborate scene of a funerary procession in which a shrine containing
the coffin of the deceased was dragged to the tomb. The section shown here por-
trays the oxen who were hitched by ropes to the funerary shrine, and a funerary
priest, who wears a full, rounded wig and a simple white wrapped kilt with a wide
belt. He carries a situla, a ritual vessel (see no. 50), in his left hand and a pen box
and a group of reed pens in his right hand. Originally, this priest was followed by
four men and members of the family of the deceased. This sort of composition
was very popular as a theme for tomb decoration from the Old Kingdom into the
Late Period.
While most such scenes show two oxen, the tomb of Huy shows four, a pair of red
and black oxen in each register. According to the conventions of Egyptian art, the
colors employed for the animals served to differentiate the superimposed animals,
rather than being a reflection of their actual color. A few more complete versions
of this scene, a notable example being in the tomb of Rekhmire at Thebes, also
divide the ox procession into two registers of two animals each.
The brief inscription before the priest, "purifying with milk,' is a reference to the
ritual of pouring milk before a funerary cortege.
Inscriptions:
Before the priest: Purifying with milk.
Before and above oxen: Let be said to the oxen. "Pull very hard Do not allow your hearts to become wearyi"
Above lower oxen: The oxen of his funerary estate are pulling in peace.
Behind priest: The men of Pe [in reference to men behind the priest].
oi.uchicago.edu
22.
RUNNING IBEXES THE NUBIAN IBEX (Capra ibex nubiana) was a popular theme for artists from
New Kingdom, mid-Dynasty 18, the Predynastic Period onward. As early as the Old Kingdom, they were shown in
ca. 1400 B.C.
funerary offering processions where they were led on leashes and hence were pre-
Limestone
sumably intended as meat offerings for the deceased. Scenes of ibexes in pens fur-
H: 28 /2; W: 113/4; D: 2 1/3 in
(73 x 30 x 6 cm)
ther suggest they were bred for meat.
OIM 11398
The grace of the ibex was especially admired by the Egyptians. Love poetry com-
pared the lover, darting toward his beloved, to an ibex. Ibexes were used as decora-
tive motives on small luxury items, such as combs, furniture, ointment vessels, and
pottery. Mummified ibexes-perhaps pets-have been recovered from private tombs.
This fragment once was part of a larger tomb wall which showed a scene of the
desert hunt. The wildness of the animals is emphasized by the undulating moun-
tainous baseline, which has been substituted for the standard flat baseline. Such
scenes of the hunter in pursuit of desert creatures became popular in the middle
of Dynasty 18, and this freer sort of composition was especially favored by artists
of the Amarna Period (reign of Akhenaten, ca. 1352-i336 B.C.). Not only did these
scenes preserve an enjoyable leisure activity of the tomb owner, but they also were
allegories that refer to the balance of the forces of chaos (symbolized by the wild
animals) and order (the hunter). The Nubian ibex is still found in the Sinai and
the Eastern Desert of Egypt.
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23.
COLOSSAL STATUE OF Two COLOSSAL STATUES of a post-Amarna king were excavated by the
TUTANKHAMUN Oriental Institute from the ruins of the broad hall of the mortuary temple of Aye
New Kingdom, Dynasty 18, reign of and Horemheb, located just north of the temple of Ramesses III at Medinet Habu.
Tutankhamun, ca. 1334-1325 B.C. Although both statues were fragmentary, their facial features were relatively intact.
Red quartzite, pigment
H: 173" (525.7 cm); Base: L: 48/4; The arms and legs of the Chicago statue were restored in the style of other, con-
W: 311/4; H: 23 in (125 x 80 x 59 cm) temporary, statues, and the base was modeled after the base of the Cairo statue
OIM 14088 (JE 59869).
The king is shown wearing the double crown above the striped nemes head cover
with coiled uraeus; the straight, plaited, royal false beard; a broad collar necklace;
and the shendyt kilt with a belt inscribed with a cartouche. A dagger with a falcon-
form pommel, stuck obliquely into the belt, is indicated in low relief. The figure
stands with left foot advanced, his arms at his sides. The hands grasp truncated
cylinders which may represent document cases (mekes), or symbolic scepters.
The statue exhibits many characteristics of the post-Amarna Period. The belly of
the statue is soft and slightly rounded, emphasized by the dip of the belt below the
stomach area. The youthful face has full lips, a slightly upturned nose, and small
almond eyes emphasized by heavy cosmetic lines. The back pillar, with rounded
top, is divided into two vertical lines of text, incised and painted blue with the full
titulary of Horemheb.
The base of the statue is slightly trapezoidal, indicating that the statues flanked
a doorway. The front of the base bears a rectangle enclosing two cartouches and
epithets of Horemheb. His cartouches and titulary are also incised on the sides of
the base. Remains of a pair of small feet next to the king preserved on the Cairo
base indicate that a much smaller figure of the queen originally stood alongside
her husband.
Although the names of Horemheb appear on the statue, the cartouches and many
of the epithets on the back pillar have been recut, indicating that the statue was
appropriated from an earlier ruler. Traces of the original text can be restored as
the name of Aye, the predecessor of Horemheb. However, the features of the stat-
ue suggest that it was commissioned by an even earlier king. Although there are
few representations of Aye, there are many of Tutankhamun, and the youthful fea-
tures of statues of that king more closely resemble the features of the unrestored
Cairo statue. That identification suggests that the statue was commissioned by
Tutankhamun for his own mortuary temple. The statue was carved but, as indicat-
ed by the lack of traces of Tutankhamun's name under those of Aye, not yet
inscribed with his royal titulary. The statues were appropriated by Aye, inscribed
and installed on either side of the western door of the broad hall of his temple.
52
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After Aye's brief reign, the statues were reinscribed for Horemheb, who greatly
expanded the mortuary temple of his predecessor.
The references to the god Amun of Karnak on the back pillar and base may be an
allusion to the visit of that god, who normally resided on the east bank, to the west
bank temples during festivals such as the Beautiful Feast of the Valley.
Inscriptions:
Belt buckle: Djser-kheperu-re-setep-en-re, Beloved of Amun.
Base: King of Upper and Lower Egypt, Djser-kheperu-re-setep-en-re, Son of Re, Horemheb, beloved of
Amun, beloved of Amun-Re, Lord of the Thrones of the Two Lands, foremost of Karnak, given life like Re for-
ever. Live Horus! The strong bull, keen of counsel, King of Upper and Lower Egypt, Lord of the Two Lands,
Djser-kheperu-re-setep-en-re, beloved of Amun-Re.
Back pillar: The Horus, strong bull, keen of counsel, the Two Ladies, great of wonders in Karnak, King of
Upper and Lower Egypt, ruler of the Nine Bows, Lord of the Two Lands, Lord of Action, Djser-kheperu-re-
setep-en-re, bodily son of Re, his beloved, possessor of diadems, ruler of happiness, possessor of strength,
Horemheb, beloved of Amun ... Golden Horus, who is satisfied with truth, who causes the Two Lands to
come into being, the good god, son of Amun whom the Lord of the Gods begot and whom Mut, Mistress of
Heaven, bore in order than [he] might govern that which the sun encircles, possessor of diadems, Djser-
kheperu-re-setep-en-re, bodily Son of Re, his beloved, his avenger, who has appeared on his throne, Lord of
the Two Lands, Horemheb beloved of Amun ...
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24.
AMUN
New Kingdom, Dynasty 18,
reigns of Tutankhamun and Aye,
ca. 1334-1321 B.C.
Indurated limestone
1: 323/4; W: 9; D: 18 in
(84 x 23 x 46 cm)
OIM 10503
THIS SCULPTURE DEPICTS a male figure seated on a blocky throne. He

wears a pleated kilt with belt and a shirt with straps that pass over his shoulders.
The tail of a bull, symbolizing virility and power, is visible between his legs. His
jewelry consists of armlets, bracelets, and a broad collar necklace edged with tear-
drop shaped beads. His hands are placed on top of his thighs. The left hand grasps
an ankh, the hieroglyph for "life." The figure's feet rest solidly upon the platform
on which the throne is placed. The legs are heavy and the ankles thick. A broad
uninscribed back pillar continues upward from the back of the throne to the break
at the back of the statue's neck.
The cartouches on the front of the throne give the prenomen and nomen of King
Aye. However, the irregular texture of the stone within the cartouches may indicate
that the present name was inscribed over the name of another, earlier king.
Comparison of this statue with other very similar examples suggests that it was
commissioned by Tutankhamun and that it originally showed the king in the guise
of the god Amun, wearing his characteristic flat-topped crown with tall feathers.
When this statue came to the Oriental Institute in 1919, the head had been restored
to show the king wearing the blue crown and a straight false beard. In 1933, the head
was removed and another complete restoration, with decidedly Amarna features, was
affixed. After the statue was re-identified as Tutankhamun in the guise of Amun,
the second head was removed.
Inscriptions:
Left front of throne: The good god, the Lord of the Two Lands, Kheper-kheperu-re-ir-Maat, beloved of Amun-Re.
Right front of throne: The son of Re, The God's Father, Aye, beloved of Amun-Pe.
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25.
SETI I AND RAMESSES II THIS FRAGMENT OF A STELA shows King Seti I followed by his son
New Kingdom, Dynasty 19, reign of Ramesses (later Ramesses II "The Great") (left), and two priests (right). The king
Pamesses II, ca. 1279-1212 B.C. wears an elaborate wig with uraeus, a broad collar necklace, and an obliquely cut
Limestone, pigment
skirt over a kilt ornamented with a ceremonial apron decorated with five pendent
1: 15 3/a; W: 20; D: (max) 2 3/4 in
uraei. A sash is tied around the middle of his chest. He carries the crook and flail,
(39.5 x 51.3 x 7 cm)
OIM 10507 the traditional scepters of kingship, in his left hand and a mace in his right hand.
His son wears an oblique-cut kilt and his hair is arranged in a side lock distinctive
of youth and of the iwenmutef priest who officiates in rituals celebrating his father.
The texts identify the priests as Amun-wahsu (left) and Tia (right). They are
dressed in the heavy wigs and elaborate pleated garb typical of the period in which
this stela was carved. Amun-wahsu pours a libation over the offering table heaped
with bread and vegetables and he holds an incense burner from which smoke
curls in his left hand. Tia holds a bouquet of flowers toward the king's face and
raises his hand in an honorific salute.
The text above the heads of the king and the priests indicates that they are
deceased, however, the name of Seti's son-his successor-is not, as would be
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expected, enclosed in a cartouche. A possible explanation for this is that the stela
commemorates the careers of the two priests who served Seti but did not continue
to officiate in the reign of his son Ramesses. If so, this stela may be interpreted as
conflating two time periods. The first time period was during Amun-wahsu's life-
time, when, as indicated by the texts, he served as "Scribe of the Offering Table of
the Lord of the Two Lands." The name of Ramesses is not encircled by a cartouche
because, at that point in Amun-wahsu's career, Ramesses was still a prince. The
second time period, at which point both priests and King Seti were dead, is
symbolized by their mortuary epithets, and by the act of censing and pouring a
libation before the king which is typically a funerary ritual. The ankh sign that
Ramesses holds may be a reminder of his vitality after the death of his father.
The height of the king and priests relative to Ramesses may suggest that Tia,
Amun-wahsu, and Seti were of the same generation. If so, the suggestion that
this Tia is to be identified with "the King's True Scribe Tia," who married the sister
of Ramesses II may be ruled out, for the stela suggests that the Tia shown on it
died before the accession of Ramesses, which would make him far too old to have
married the new king's sister.
The emphasis placed upon the action of Amun-wahsu suggests that this stela was
commissioned by him for a memorial chapel, or perhaps his own tomb, to com-
memorate his role in the cult of the royal family. The relationship between the two
priests is not clear, but it is possible that they were brothers, under which circum-
stance it would be appropriate to share a funerary monument.
Inscriptions:
Above Seti: The Osiris, the king, Lord of the Two Lands, Men-Maat-re, Seti-mery-n-ptah, repeating of life,
possessor of veneration.
Above Ramesses: The bodily son of the king, his beloved, Ramesses.
Left priest: The Osiris, the Scribe of the Offering Table of the Lord of the Two Lands, Amun-wahsu, justified,
repeating of life.
Right priest: The Osiris, the Royal Scribe, Tia, justified.
57
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26.
TWO SCENES OF NATURE ANCIENT EGYPTIAN ARTISTS often used flakes of fine-textured white lime-
New Kingdom, Dynasties 19-21, stone as sketch pads. On one example shown here, two grasshoppers are depicted
ca. 1292-946 B.C.
above a bush that bears small red berries or flowers. In the upper right a bird
Limestone, pigment
emerges from a nest that holds three eggs. In contrast to the carefully drawn insects
ANIMALS
and foliage, the bird and nest are drawn as cursive hieroglyphs. The symbolism,
H: 4 3/4; W: 81/3; D: 3/4 in if any, of the composition is unknown. Traces of registers of black, now illegible
(21.5 x 12.2 x 2.8 cm) hieroglyphic text can be seen under the grasshoppers, indicating that the flake
OIM 16880 was reused.
GRASSHOPPERS IN A BUSH The scene with animals is a more formalized composition. The register lines are
H: 6 3/4; W: 4 5/16; D: 11/4 in drawn in red and a red preliminary sketch can be seen under some parts of the
(17.2 x 12.7 x 3.1 cm) figures. The animals are not a unified composition but rather are in five separate
OIM 16879
groups, suggesting that the artist was experimenting with genre studies of animals
to incorporate into other works.
The top register shows a group of grazing gazelles and a pack of wild boars. The
artist has painted the boars alternately black and brown to differentiate each animal
in the pack. The cow with her calf and crocodile eating a fish in the lower register
are compositions known from Old Kingdom tomb reliefs.
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THE BAD BOY

F LAKES O F LI M ESTONE (ostracon) with drawings are well attested for the late
New Kingdom. Although they vary in theme and style, it is assumed that they are
ca. 1200 B.C.
Limestone, pigment either satirical drawings or illustrations of popular folk tales. This example shows
H: 3'/8; W: 45/16 in a mouse dressed in a finely pleated kilt, standing on a dais before a stool. He leans
(7.8 x 12.6 cm) on a papyrus umbel-topped staff, in imitation of a high official leaning on his staff
OIM 13951 of office. To the right, a cat stands on his back feet, wielding a flower-shaped
baton over a young boy whose arms are raised in supplication. The boy wears a
hairstyle associated with youth: the side lock and three tufts of hair. As was cus-
tomary with children, he is shown naked.
The composition may be a satirical scene that portrays the world turned upside-
down. Here, the mouse is superior to the cat, and both judge the boy. The reverse
of this scene bears an inscription in hieratic: "the cat and mouse bring in the boy."
The scene was painted with full attention to detail. As with formal works, a pre-
liminary sketch executed in red pigment can be seen under the final black outline.
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28.
STELA DEDICATED TO THE GOD

RESHEP
New Kingdom, Dynasties 19-20,
ca. 1292-1070 B.C.
Limestone
H: 93/4; W: 65/s in (25 x 17 cm)
OIM 10569
BY THE END OF THE Middle Kingdom (ca. 1650 B.c.) foreigners had settled
in Egypt bringing their own gods with them. Among these deities was Reshep,
originally a West Semitic deity associated with warfare and the underworld who
was identified with the Mesopotamian god of the underworld, Nergal. In
Chronicles 7:25 he appears in the genealogies of "bands of soldiers for war."
Reshep is first attested in Egypt in Dynasty 12 by foreign names compounded with
the god's name, but by the reign of Amunhotep II (ca. 1428-1400 B.c.) in Dynasty
18, the god appears in royal reliefs, and the king even refers to himself as Reshep
in the context of foreign campaigns. The god is also attested in Egypt by small
bronze statues and a few stelae such as the one shown here. Although he was, to a
certain degree, integrated into the Egyptian pantheon, he was worshipped mainly
by settlers from western Asia. This stela reflects that ethnic appeal, for it is dedi-
cated to a man named Merer, whose name is Egyptian, but whose father bore the
very un-Egyptian name Sul, suggesting that Merer's family was foreign born.
The god is presented in a manner that seemed familiar to Egyptians, yet that served
to differentiate him from the purely Egyptian gods. His tall crown, which resembles
the white crown of Egyptian kings, is ornamented with a long fabric streamer. The
cobra (uraeus) found on the forehead of the crown has been replaced by a gazelle
head, similar to that found on diadems associated with Asiatic princesses in Egypt
during the Middle Kingdom. The tasseled and scalloped hem of his kilt serves
to distinguish him from Egyptian gods, as do the form of his spear and the rare
representation of a sling looped over his uplifted arm.
Inscriptions:
Right: Peshep, who draws near [for battle], the great god. May he give to you all life and health every day.
Left: For the spirit of the wab priest of Porus-Khenty-Khety. lord of Athribis, Merer, son of Sul, justified.
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29.
DECORATIVE TILES DOORWAYS IN THE PALACE of Ramesses III at Medinet Habu were decorat-
New Kingdom, Dynasty 20, reign of ed with brightly glazed tiles. The tiles were not only colorful additions to the decor
Pamesses III, ca. 1182-1151 B.C.
of the palace, but their motifs also expressed the power and authority of the king.
Faience, glaze
The tile with the bird bears a motto praising the king. This is composed of a lap-
LAPWING
wing (Vanellus cristatus), the hieroglyph for "Egyptian people." A basket, shown as
H: 3'5/16; W: 3/4; D: 1'/2 in
a half circle under the bird, means "all." The star in the center of the tile is the
(10.1 x 9.7 x 1.8 cm)
OIM 16721
verb to "give praise." Together, these elements spell the wish that "all the Egyptian
people give praise." The object of adoration is the name of the king that appears in
CARTOUCHE a cartouche to the left. This composition illustrates how hieroglyphs could be
H: 41/2;W: 4; D: 9/16 in recombined and embedded into scenes. The uplifted human arms that emerge
(11.5 x 10.16 x 1.5 cm) from the bird's breast are the usual determinative for the writing of the verb "to
OIM 16672
praise." Here they have been added to the lapwing to more explicitly stress the fact
that it is all the people who adore the king.
This tile displays several complex techniques. Faience was pressed into a reverse
mold to produce the raised areas (the bird, star, basket, and area around the car-
touche). The hieroglyphs, the colored detail in the basket, and the blue of the back-
ground surrounding the bird are inlays of bits of colored glaze, some of which
were cut into pieces and fitted into the recesses.
The other plaque bears the last several hieroglyphs of the name of Ramesses III
on the sign for "gold." This tile employs a different technique. The recesses of the
background tile are less deep and more clearly defined. The hieroglyphs are inlaid
in a matte-finish faience with far greater precision than the bird tile, and the face
of the hieroglyph tile has been glazed with a thinner and less reflective tan glaze.
The technique of this tile is reminiscent of that used some 2,ooo years earlier in
the tomb chapel of Nefermaat (see no. 3). The tiles from Medinet Habu are closely
paralleled by tiles of the same themes from the palace of Ramesses II at Kantir in
the eastern Delta.
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30.
FLORAL COLUMN THE EG Y PTIANS' STRONG awareness of their environment was manifested
New Kingdom, Dynasty 20, reign of by the incorporation of animals and plant elements into their art. Most architec-
Pamesses III, ca. 1182-1151 B.C.
tural forms were based upon soft mediums such as reed matting and columns of
Limestone, pigment
reeds or timber that were transformed into imperishable stone.
H: 43; W: 11 in (110 x 28 cm)
Ol 14089 Not only does this fragment of an elaborately decorated architectural element
show organic materials (flowers) translated into stone, but the entire column is
merely decorative, being carved in relief onto the surface of a slab of limestone.
The decorative column represents an elaborate bouquet of flowers with their
stems tied together. The uppermost blooms are red and blue lilies; the middle are
blue papyrus flowers with yellow and red sepals; and the lowest blooms are blue
and green lotuses nestled within yellow sepals. The shaft of the column is carved to
represent the stems of the flowers. The lily stems have been cut shorter, exposing
the inner group of stems.
As with so many examples of Egyptian art, the choice of the plants is symbolic.
The papyrus was the emblematic plant of northern Egypt, the lily was the emblem
of the southern region of the country. Here, they are physically united and securely
lashed together. The king and his power and role in that unification may be alluded
to by the rearing cobras, their hoods flared, with sun disks on their heads, that
flank the papyrus blooms. A single uraeus tops a slender floral staff with papyrus
capital shown to the left.
This column and a duplicate (now in the Egyptian Museum Cairo) originally
flanked a statue niche in the western fortified gate of the temple of Ramesses III.
62
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, , ,; P
, .;
-
x I
ra.
;, "
, f
u 1'I
,
rt:,,
,.
, '
r,'
i
'}K'i} i I .
fr,
,
f . ,
. "
r' ' i ,, . .
t
;'+
' , f
;
S;
r';.
f'id
i
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31.
GROOMING IMPLEMENTS THE EG Y PTIANS OF THE ELITE class were very conscientious about their
grooming, with particular care being given to the appearance of the hair. Hairstyles
Razor with Case
changed dramatically from period to period. For example, short hair, which was
fashionable for women in the Old Kingdom and the Late Period, was not as popular
ca. 1200 B.C.
Copper alloy, wood during the Middle and New Kingdoms. Both genders wore wigs and hair exten-
Case: L: 5 /8;W: 17/8; D: 3/4 in sions to add volume to their natural hair. Mummies of women are often equipped
(13.1 x 4.9 x 2 cm); Razor: L: 4 3/s; with full wigs or with falls that were woven into their own hair, and hair was not
W (overall): 3 '/8 in (10.7
x 8 cm) uncommonly colored with henna. Hair on male mummies indicates that men did
OIM 10582
not, as recorded by Herodotus, always shave their head, the amount of hair appar-
ently being dictated by individual taste and occupation.
Hair Curler
New Kingdom, Dynasty 18, Many tools associated with grooming have survived. The use of the hinged imple-
ca. 1550-1293 B.C.
ment is not clear, but it is usually identified as a hair crimper or curler. It may
Copper alloy
have had several uses, for the handle is sharp, as if it could be used as a razor.
L: 3 1/2; W: 1/2 in (9.2 x 1.3 cm)
OIM 9912
Most men were clean shaven, although in some periods they might wear a mus-
tache or a goatee. Beards are only rarely encountered, and they are usually associ-
Ear Spoon
Roman Period, 1st century B.c.-
ated with men in mourning. Body hair was considered to be unclean, and men
1st century A.D. and women removed it with tweezers, sticky depilatories, and razors. The handle
Bronze of the spatula-form razor here with its wooden case curves toward its sharpened
L: 4 '/4 in (10.9 cm) cutting edge. By the New Kingdom the straight scalpel-form razor was also used.
OIM 8515
Razor
Ca. 1200 B.C.
Copper alloy
L: 43/4; W: 11/18 in (12.1x 1.8 cm)
OIM 10502
Tweezers
Roman Period (?), 1stcentury B.C. (?)
Copper alloy
L: 2 3/4; W: 1/5sin (7.3 x 1.5 cm)
OIM 76
64
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IC
-U
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32.
STUDY FOR A ROYAL
TOMB PAINTING
New Kingdom, Dynasty 20, reign of
Pamesses VI, ca. 1142-1134 8.C.
Limestone, pigment
N-: 14'/2; W. 9'1/4; D: 2'1/3 in
(37 x23.7 x6 cm)
OIM 17006
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THE SKETCH ON THIS LAR GE flake of smooth limestone shows a woman

wearing a vulture cap topped with a flat crown with five floral elements. She wears
a fine nearly transparent dress, with a sash tied at her waist and a broad collar
necklace. In each hand she holds a scepter, terminating in the floral emblems of
Upper and Lower Egypt. A rearing uraeus sits atop each scepter. The uraeus to the
left wears the red crown of Lower Egypt; that to the right wears the white crown of
Upper Egypt.
The headdress of this woman is rare. An early, possibly related version appears on
the back of a chair of Satamun, daughter of Amunhotep III. In that example, the
princesses' headdress is topped with five projections that terminate in floral umbels
rather than with circles. That example bears a gazelle head, which was associated
with royal women of lower rank, rather than the more conventional vulture head
or uraeus. Another example, in the temple of Ramesses III at Medinet Habu,
shows a woman, referred to as a Nefert ("a beautiful one") with a crown that
seems to be a transition between the Satamun crown and the Chicago example.
The Medinet Habu headdress is made up of a flat platform topped with four balls
and three floral elements. Two examples which are very similar to that on the
ostracon are found in the tombs of Nebet-tawy (tomb no. 6o dating to the reign
of Ramesses II), and Tiyi (tomb no. 52 belonging to the mother of Ramesses IV)
in the Valley of the Queens. The symbolism and significance of this complex and
distinctive crown is unknown.
The similarity of the drawing on this ostracon to a scene in the tomb of Queen
Isis (tomb no. 51), the mother of Ramesses VI, suggests that the ostracon may
have been the preliminary sketch for a scene in that tomb. A great number of
these preliminary sketches on ostraca are known. Many are thought to be the
equivalent of artists' sketch pads, upon which the draftsman experimented with a
design before transferring it to a wall (see no. 26). Other examples, such as number
27, are clearly finished pieces that were not intended for another purpose. As with
many examples of Egyptian drawing and painting, one can see a preliminary out-
line in red pigment under the final black version of the drawing, particularly in
the buttock and shoulder of the woman.
67
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33.
HEAD OF A KING
Third Intermediate Period,
Dynasties 21-25, ca. 1070-664 B.C.
Baked clay and pigment
N: 13/16; W: 1'/6; D: 1 /8 in
(3.1 x 2.6 x 3 cm)
OIM 15554
ALTHOUGH THE MA JORITY of examples of Egyptian sculpture exhibited in

museum galleries and illustrated in books are made of stone, bronze, or wood,
Egyptian craftsmen also commonly used clay as a medium. From the New Kingdom
onward, most baked clay sculptures were mold-made figures, sold to people as
offerings or souvenirs when they visited temples. More rare in that era are individ-
ually hand-modeled figures such as this head which, through the uraeus on its
forehead, indicates that it is supposed to represent a king. It is unknown if the
tendril-like hair, the bulbous eyes, and slit-like mouth should be understood as a
satirical comment on the king, or if this peculiar representation is simply a genre of
informal folk art which is otherwise poorly attested. Informal-and unflattering-
representations of the king are extremely rare, and if this example had not been
excavated under controlled circumstances, it would certainly be dismissed as a
bad forgery.
The head has traces of dark red powdery pigment that is common on other exca-
vated terra-cotta figurines. The color is similar to that used on the skin of male
figures (see nos. 7, 8), perhaps to indicate that their skin has been reddened by
the sun. The same color is applied to many examples of clay figurines of women,
although traditionally the skin area of statues and figurines of women was pig-
mented yellow.
During the excavation of Medinet Habu, a wide variety of baked clay figurines was
recovered in forms of female figurines, women on beds, men with exaggerated
genitalia, birds, dogs, and horses. It is tempting to imagine an ancient resident of
Medinet Habu fashioning this small head from a bit of clay as he looked at formal
representations of the king on the side of the temple.
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34.
CANOPIC JARS CANOPIC JARS ARE RITUAL VESSELS for the storage of embalmed viscera
Third Intermediate Period, removed from the body during the mummification process in the effort to pro-
Dynasty 22, ca. 800 B.C.
mote the desiccation, and ultimately the preservation, of the body. Canopic jars
Limestone
were made in sets of four to accommodate the four major organs (stomach, liver,
Luxor, Deir el Bahari
lungs, and intestines) that were removed. These organs were preserved in canopic
2094 (Duamutef) H (overall): 13 5/8
D (jar): 41/2 in (34.7 x 11cm)
jars rather than being discarded because it was believed that the deceased would
be reborn in the afterlife, and that all elements of his or her body were required
2092 (Qebehsenuef)
for rebirth.
H (overall): 131/2; (34.2 cm);
D (jar): 47/ in (12.5 cm)
Canopic jars could be made of terracotta, faience, or wood, but they are most
2093 (Hapi) commonly of limestone or Egyptian alabaster (calcite). They were made for royal
H (overall): 12 3/4; D (jar): 4 /4 in and non-royal burials, as well as for the burials of Apis bulls who were sacred to
(32.3 x 12 cm)
the god Ptah. Canopic jars were normally stored in the tomb within chests or
2091 (Imsety) H (overall): 131/2;
shrines made of wood, cartonnage, or stone.
D (jar): 5 in (34.3 x 12.7 cm)
OIM 2091-94 The earliest set of canopic jars was found in the Giza tomb of Meresankh III, the
wife of Menkaure (Dynasty 4, ca. 2530 B.c.). However, the tradition of removing
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viscera can be documented earlier in Dynasty 4 by niches in tombs that corre-

spond to the placement of the later canopic jars, and by stone blocks with recesses
for the viscera. The earliest examples of canopic jars have flat, dish-like lids. First
Intermediate Period examples usually have four human heads, which, as indicated
by the brief inscriptions on the jars, represent the deceased. By the Middle
Kingdom, texts on the jars refer to protective deities called the Four Sons of
Horus, indicating that the jars were associated with those gods rather than with
the deceased. By early Dynasty 19 (ca. 1279 B.c.), this association of the jars with
the Sons of Horus was so complete, that the jar stoppers thereafter normally took
the form of the distinctive heads of those protective deities (falcon, ape, jackal, and
human). Royal and non-royal examples tended to follow the same stylistic pat-
terns, although the canopic containers from the tombs of Tutankhamun (Dynasty
18, ca. 1325 B.C.) and Shoshenq II (Dynasty 22, ca. 877-875 B.c.), as well as from a
few non-royal burials, were anthropoid in imitation of the coffin in which the
tomb owner was interred. Canopic jars continued to be used into the Ptolemaic
Period (Ist century B.c.). Although no examples have been dated to the early
Roman Period (1st century B.c.-Ist century A.D.), scenes of embalming rituals on
coffins and on tomb walls commonly include canopic jars.
Canopic jars had symbolic importance in burials and were considered to be inte-
gral to a proper burial. Some canopic jars from the Old and Middle Kingdom were
placed in tombs, although they were never actually used. In a similar fashion, in
the Third Intermediate Period (Dynasties 21-24, ca. I070-714 B.c.), the mummi-
fied internal organs of the deceased were usually returned to the thorax and
abdomen of the mummy. Yet the tradition of including canopic jars with the tomb
equipment was so firmly established that jars with no or little interior space, as is
the case with the set shown here, were included in the tomb furnishings. This
symbolic use of canopic jars is underscored by the production of very small jars
that, although showing signs of having been used, could not have accommodated
a full human organ. The assumption is that only a small symbolic sample of the
organ was placed in the jar, and the rest of the tissue was discarded.
This set of uninscribed canopic jars was recovered from a badly disturbed archaeo-
logical context by Edouard Naville at the temple of Queen Hathsepsut at Deir el
Bahari in Luxor. They are "dummy" jars, with removable stoppers, but only a
small interior cavity. The lids represent (left to right) Duamutef (jackal) who pro-
tected the stomach, Qebehsenuef (falcon) who protected the intestines, Hapi (ape)
who protected the lungs, and Imsety (human) who guarded the liver.
The name "canopic" is derived from Canopus, the pilot of the ship of the Greek
hero Menelaeus, who was especially revered in the west Delta city of Canopus
(near modern Abu Kir). According to Classical authors, Canopus was venerated in
the form of a jar with a human head. That type of jar was erroneously equated
with canopic jars with human heads, although they are functionally, and theologi-
cally, unrelated. The association between Canopus and a canopic jar is even more
mistaken because the jars with human heads from the Roman Period represent
not Canopus, but usually the god Osiris, or less frequently Anubis or Isis.
70
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35.
A PRIEST OF I4ATHOR
Dynasties 22-23, ca. 946-714 B.C.
Limestone, pigment
i-: 16; W: 9; D: 73/4 in
(41 x 23 x 20 cm)
OIM 10729
THIS STATUE OF A SEATED MAN, his cloak drawn down over his feet,
represents a man named Basa. His arms, crossed in front of him, are suggested
by a ridge on top of the statue. His hands, which emerge from the cloak, are visible
above his knees. He grasps a handkerchief in his right hand. His left hand is placed
flat on the top of his knee. Basa wears a blunt beard and a thick, blunt-cut wig
with side-to-side striations indicating the hair.
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The surface of the cloak as well as the back pillar is covered with texts and repre-
sentations. On the front of the statue, Basa is shown to the right dressed in a
priest's panther skin, with a ritual vessel (see no. 50) over his arm, adoring the
gods Osiris and Isis. On the left and right shoulder of the statue, Basa is shown
kneeling in adoration of Osiris.
The texts record the names and titles of twenty-six generations of Basa's father's
family and four generations of his mother's family. Among Basa's titles are "Third
Priest of Hathor," "Overseer of the Secrets of Clothing," "Investigating Scribe,"
"Astrologer," "Overseer of Cattle and Craftsmen," and "Temple Scribe at Dendera."
He was a descendant of the well-known priest Nebwenenef who was buried at
Thebes in the reign of Ramesses II. The text is one of the few records that docu-
ments Dendera and its priesthood during the early first millennium B.c.
Block statues appear first in Dynasty 12 (ca. 1976-1794 B.C.). They remain a feature
of Egyptian art through the Late Period. It has been suggested that the seated pose
emphasized the humility of man before god and that the tightly drawn cloak was
an illusion to the wrappings of Osiris, and hence rebirth. Although such statues
originally were made for tombs, by the New Kingdom they were also commissioned
for placement in temples, where, it was believed, they would passively partake of
the prayers offered to the gods.
For translation, see Ritner 1994, pp. 209-22, in Appendix 3.

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36.
STELA OF THE HEARING EAR
Third Intermediate-Late Period,
Dynasties 22-26, ca. 946-525 B.C.
Limestone, pigment
H: 31/4; W:2 3/16; D: 3/4 in
(8 x 5.7 x 2.1 cm)

OIM 16718
THIS SMALL, PORTABLE STELA is decorated with five pairs of human ears.
Inscriptions on similar stelae indicate that the ears were thought to be the sympa-
thetic ears of the god to whom prayers and petitions could be addressed. A variety
of gods are associated with granting such petitions, and so it cannot be determined
what god would be addressed. Prayers from a slightly earlier time, addressed to
"any god by whom I pass," suggest that a great variety, or even all the gods, were
considered to be able to help a petitioner.
These "hearing ear stelae" are known from at least the middle of Dynasty 18 (ca.
1350 B.c.). This example was excavated from the ruins of a private house, suggesting
that it was part of a domestic cult. The practice of petitioning the gods for special
favors or help was widespread in the New Kingdom and later. The great temples had
places of petition, usually on the exterior back wall, where the common people could
easily congregate. Some of these can be identified by the carving of ears on the walls,
while others are simply referred to as "places of hearing petitions."
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NEW KINGDOM AND THIPD INTERMEDIATE PERIOD
37.
OFFERING TO THE GOD
Dynasty 22, ca. 946-735 B.C.
Wood, gesso, pigment
H: 9s/ ,;4 W: 8'/ in (25 x 22 cm)
OIM 1351
THis FINELY PAINTED ROUND-TOP stela was one ofa number of similar
objects recovered from intrusive tombs located in the ruins of the temple of
Ramesses II at Thebes. It portrays a woman named Djed-khonsu-iw-es-ankh
("Khonsu Said that She Will Live"), pouring a liquid offering for the seated god
Re-Horakhty. She wears a linen dress edged with green and red fringe. It is not
clear if the artist has allowed the body of the woman to show though the dress to
emphasize her feminiity, or if he was attempting to indicate that the linen was so
fine that it was nearly transparent. Djed-khonsu-iw-es-ankh wears a broad collar
necklace and a cone of scented fat on her head along with a lotus and mandrake or
persea fruit, all of which were evocative of rebirth.
The god is seated on a multi-colored throne. He holds the crook and flail associat-
ed with kingship. The tall sign for 'the west" is behind the god. The sign for
"east' (damaged) is behind the woman.
The liquid offering is being poured upon a table of offerings laden with round
loaves of bread, a beaker of dates (?), a bunch of grapes, a covered dish, two leeks,
and a bouquet of flowers. Two situlae (see no. 50), vessels for milk or other liquid
offerings, hang from the edges of the table. The winged disk with pendent uraei, a
form of the god Behdeti, hovers over the scene.
Inscription:
An offering which the king gives [to] Re-lorakhty, the great god lord of the heaven, that he [Re-lorakhtyl
may give invocation offerings of bread, beer, offerings. and provisions to the Osiris, the Mistress of the
oluse, the noblewoman, Djed-khonsu-iw-es-ankh, justified, daughter of the Priest of Amun-Re. king of the
gods. Chief of the Mysteries of the Clothing for the Divine Cult Statue. Ser-Djehuty.
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38.
CARTONNAGE CASE AND
MUMMY OF MERESAMUN
Dynasty 22, ca. 946-735 B.C.
Cartonnage (fabric, glue, plaster),
linen, pigment, human remains
H: 62 3/8 in (160 cm)
OIM 10797
THIS CARTONNAGE MUMMY CASE, which still contains a mummy, is

inscribed with the name of Meresamun ("She lives for Amun"). This style of car-
tonnage coffin was formed over a temporary inner core made of mud and straw.
After the coffin shell was completed, the core was scraped out and the wrapped
mummy inserted into the case through the back and the back seam laced up. A
separate footboard was attached, the entire case was covered with another layer of
thin white plaster and then painted. The colored areas of the coffin were painted
with a final layer of protective varnish that has turned yellow with age. This type of
mummy case was normally part of a set of coffins composed of a wooden anthro-
poid (human-shaped) coffin, or even a series of two or three nested coffins, all of
which would have been painted with religious scenes.
Meresamun is shown wearing the vulture headdress (see no. 56). The torso of the
coffin is painted with scenes that allude to life after death and which were intend-
ed to ensure Meresamun's successful rebirth. Her chest is covered with the repre-
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NEW KINGDOM AND TI-RD INTERMEDIATE PERIOD
sentation of layers of wide floral necklaces-symbols of regeneration. Below, to

the right and left are two pairs of gods who were entrusted with the protection of
the internal organs that were removed during the mummification process. These
gods also appear on the lids of canopic jars, the containers in which the embalmed
viscera were stored. To the right are the hawk-headed god, Qebehsenuef who
guarded the intestines, and the jackal-headed Duamutef who guarded the stomach.
To the left is the human-form Imsety who guarded the liver, and the ape-headed
Hapi who guarded the lungs.
Between and slightly below these gods is a large representation of the falcon
god Horus (or, perhaps, Re), with the sun's disk on his head, clasping a round
shen ("eternity") sign in each talon. A feather fan, a symbol of divinity, emerges
from each shen sign. The solar Horus, as a symbol of the eternally reborn sun,
signified rebirth.
On either side of the central band on the leg area of the coffin are wedjat eyes,
which symbolized health and regeneration. Behind the eyes are winged serpents
with sun disks on their heads-symbols of protection. The serpent to the right
hovers above the hieroglyphs for eternity, life, and dominion. Below the serpents
are rams which functioned on several different levels. They may be a pun for the
word "soul" (both the word "soul" and "ram" sounded the same in the ancient
Egyptian language). The ram may also represent the god Khnum, one of the pri-
mary creator gods, Re, a solar deity, or Ba-neb-djed, who was associated with the
soul of Osiris, one of the deities of the afterlife.
Larger scale hieroglyphs cover the lower leg area. To the right of the central band
of hieroglyphs is the djed pillar, which symbolized the backbone of the god Osiris,
the main deity of the afterlife and the deceased's association with that god in the
afterlife. To the left is the tiet (so-called "Isis knot"), a symbol with broad meaning,
associated generally with health and well-being. Two images of the jackal god
Wepwawet, protector of the necropolis, decorate the upper surface of the feet. The
footboard of the coffin is decorated with a bull which, on other coffins, is explicitly
identified as the god Apis.
Where Meresamun lived and died is unknown, although the style of the coffin
suggests that she was originally from the Theban (modern Luxor) area. According
to the inscription, she held the title "Singer in the Interior of the Temple of
Amun," a high position in the bureaucracy of priestesses. Many of the women
who held this title were known to come from the best families of Thebes, and
some of them served as attendants to the ruling family.
The coffin has never been opened and the mummy has never been unwrapped. In
1991, the mummy of Meresamun was examined by CT scans (computed tomogra-
phy or "CAT"). During that study, radiologists suggested, on the basis of her teeth
and bones, that she may have been about 30 years old at the time of her death.
This was not considered to be an old age for an upper class woman of the period.
However, the cause of her premature death is unknown.
Inscription:
A gift which the king gives to Pe-Horakhty-Atum, Lord of the Two Lands and -leliopolis [and to] Ptah-Sokar
Osiris, Lord of Shechet, and Wennefer (a form of Osiris), Lord of the Sacred Land (i.e., the Necropolis), the
great god, lord of heaven that he may give funerary offerings to the Osiris, the Singer in the Interior of the
Temple of Amun, NMeresamun, the one beneficial to Amun, justified.
76
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,,_j.
",
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39.
BRICK STAMP THE ANCIENT EG Y PTIANS gave proper names to buildings, and even to ele-
New Kingdom-Third Intermediate ments of buildings, such as doorways. For example, the name of the pyramid of
Period, Dynasties 19-22, King Userkaf at Sakkara was "Pure are the Places of Userkaf," and the mortuary
ca. 1292-735 B.C.
temple of Thutmose IV at Thebes was "Thutmose is the Rightful Ruler." Mud
Bronze
H: 4 3/8; W: 15/; D (handle): 3/4 in
bricks produced for a particular building project were often impressed with a
(11.3 x 4.2 x 2 cm) stamp bearing the name of the structure for which it was produced.
OIM 11171
This stamp, in the form of an oval topped by two feather plumes, bears the
inscription "Hathor in Imu." Imu, known today as Kom el Hisn, is located in the
west central delta. The site is poorly preserved, but textual sources indicate that
the goddess Hathor was the principle deity of the town. This bronze stamp may
have been employed to mark the bricks used in that temple.
Few examples of brick stamps survive. The impression that would have been left
by this stamp has the same general dimensions as impressions recorded on actual
bricks. Other examples of impressions on bricks (from Thebes) are also topped
with double plumes. A strap-like piece of bronze is soldered to its reverse side to
act as a handle.
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40.
AMUNIRDIS I AND THIS FRAGMENT OF SANDSTONE relief shows two women; Diese-heb-sed to
DIESE-HEB-SED the left and the God's Wife of Amun, Amunirdis I, to the right. Both women wear
fine, almost transparent linen gowns and sandals with looped toes (see no. 57). Diese-
Dynasties 25-26, ca. 656 B.C.
heb-sed wears a heavy tripartite wig, while the God's Wife wears the vulture head-
Sandstone, pigment
lI: 19'/8; L: 24 3/4; D: 7 3/8 in dress topped by a flat modius that would have supported two tall plumes. Inscriptions
(49 x 63.4 x 18.5 cm) from other sources indicate that Diese-heb-sed was an attendant of Amunirdis. In
OIM 14681 that subservient role, she stands with her arms passively at her sides as Amunirdis
raises her hands in adoration of the deity who was once shown to the right.
In the era in which this relief was carved, Egypt was ruled by Nubian kings who
installed their daughters to be their representatives in Thebes. Amunirdis was the
daughter of the Nubian pharaoh Taharka, one of the greatest of the Kushite rulers.
The God's Wives were considered to be married to the god Amun, a deity who had
special associations with the state and the concept of kingship. These women were
assisted in the affairs of state by a great number of Egyptian administrators. Diese-
heb-sed, whose title was "Singer in the Interior of the Temple of Amun" was a
lower ranking member of the temple personnel. She is also shown with Amunirdis
in a chapel at the Karnak Temple, suggesting that she may have been a personal
attendant of the God's Wife.
Diese-heb-sed came from a well-known family. Her brother was the mayor of
Thebes, Montuemhet, one of the highest ranking administrators of the area (see
no. 41). This fragment may have come from the now destroyed tomb chapel of
Diese-heb-sed at Medinet Habu.
Inscription:
... the eastern horizon, kissing the earth for the westerners (i.e., the deceased ones)... [Singer in the
Interior of the temple of Amun Diese-heb]-sed, daughter of the Priest of Amun, the Scribe of the Offering
table... [Nes-ptah]... that you may traverse the heaven as one justified.
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41.
RELIEFS FROM THIE TOMB OF THESE FRAGMENTS OF PAINTED and carved limestone once decorated the
MONTUEMNET tomb of the "Fourth Priest of Amun, the Mayor of Thebes," Montuemhet in Luxor.
Over the last century, pieces of the wall relief have been dispersed to museums
Dynasties 25-26, 656 B.C.
throughout the world. The fine white limestone, interesting compositions, and
Limestone, pigment
excellent workmanship make the reliefs from this tomb among the best from
OIM 17973: HI:9/8a; W: 20 1/ in
(24.7 x 52.7 cm) ancient Egypt. They are particularly interesting for the way that they adopt and
OIM 17974-5: H: 17; W: 40 in imitate themes from earlier periods of Egyptian history.
(43.1 x 101.6 cm)
OIM 18828: H: 85/a; W: 6'/4 in Most of the Chicago fragments deal with the production and conveyance of funer-
(21.8 x 15.8 cm) ary offerings to the tomb of the mayor. One, OIM 17973 shows a boat laden with
two large baskets of fruit destined for the funerary feast. Oarsmen sit at the bow
and stern. The captain, equipped with his staff of office, raises his arm, and points
his index finger, either to show the way, or in a gesture of magical protection
known from Old Kingdom river scenes. The fish and the water under the ship are
indicated in paint alone, perhaps a labor saving device.
Another fragment (OIM 17974-5), preserves the top and bottom of two different
registers. The upper shows the netting of fish. The long seine net, its top floating
on triangular shaped floats, its bottom weighted down with thin sinkers, is being
pulled in by men standing on shore at the water's edge. The curved end of the
rope can be seen above the net. In a whimsical touch, a tilapia fish (left) has evad-
ed the net by hiding behind a water lily. The fish in the net have been rendered in
great detail and can be identified, left to right, as a parrot-fish (Petrocephalus), a
carp (Barbus bynni), two catfish (Claris), and a tilapia.
In the lower register of the same fragment is a procession of women who carry
baskets of food offerings to the tomb. The hieroglyphs before each woman identify
the contents of their baskets: (left to right) trussed fowl; all (kinds) of bread; figs;
garden produce; persea (?) fruit; meat and cakes, followed by "for" Montuemhet,
whose name is preceded by one of his titles.
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The partially preserved scene on fragment OIM 18828 is an animated depiction of

two girls, pulling each other's hair. The section of a large basket above the girls,
the sheaves of grain, and the small basket between the girls indicate that the scene
is part of a harvest scene in conjunction with the production of food offerings. The
girl on the left is apparently naked, other than for a decorative belt, although paral-
lels for this scene suggest that she may also have worn a diaphanous garment also
in paint. This scene is a copy of a painting in the nearby tomb of the courtier
Menna who lived some 80o years before the time that Montuehmet's tomb was
built. This tendency to copy earlier motifs and to imitate earlier styles is a major
feature of the art of Dynasties 25 and 26.
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La aggio
(66 -33 B. )
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42.
STATUE OF AMUN
Late Period, Dynasty 26, reign of
Amasis, 570-526 B.C.
Bronze, gilt
H1:9 3/8 (24 cm); Base: L: 7 3/a;
W: 3 3/4; D: 1V/8in (19 x 9.5 x 2.8 cm)
OIM 10584
THIS S TAT U E PORTRAYS the god Amun seated on a separately made throne.
He wears the curved false beard that symbolizes his divinity and a flat-topped
crown that would have supported two tall plumes and a sun disk. His left hand is
clasped near the top of his knee. The other holds fragments of a staff. Armlets of
thin gold foil adorn his upper arms.
The sides of the throne are decorated with feather patterns. The back of the throne
is detailed with an inverted papyrus and lotus pattern, as if the top of the fabric seat
cover was looped up over the back of the chair, presenting the pattern upside down.
The date of this piece and its historical importance are securely fixed by an
inscription on its base that states that it was dedicated during the lifetime of
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LATE PERIOD
Nitocris II, the daughter of King Amasis. Throughout Egyptian history, but espe-
cially in the middle years of the first millennium B.., women of the royal family
held very high positions in the theocratic bureaucracies in Thebes (see no. 40).
The inscription relates that Nitocris II held the office of "First Priest of Amun,"
a post that gave her primacy in the ranks of the priests of Amun and which
presumably gave her authority over the vast economic holdings of the temple
of Amun. The office had previously been held by Ankh-nes-nefer-ib-re, a daughter
of King Psamtik II. She also held the title "Adoratress of the God," and, as
attested elsewhere, "God's Wife of Amun," the highest offices in the Theban
theocratic administration.
We know very little about Nitocris II. Although the inscription states that her
father was King Amasis and that her mother was Ankh-nes-nefer-ib-re, it is known
that the name of Amasis' wife was Tentheta. The presence of two mothers, one
adoptive (Ankh-nes-nefer-ib-re) and one biological (Tentheta), is well attested
among the God's Wives who employed adoption as a means of passing land hold-
ings and wealth connected with their office to their successor, who may not have
been in a direct line of inheritance. In this case, the senior partner transferred only
the title "First Priest of Amun," which, before the time of Ankh-nes-nefer-ib-re,
had always been held by a man. The respective duties of the offices of God's Wife
and First Priest of Amun are not well understood, but placing both posts in the
hands of royal princesses is an indication of the economic authority of the royal
family at that time. The office of God's Wife and Adoratress of the God are no
longer attested after the Persian invasion in 525 B.c.
The inscription on the sides of the base indicates that the statue was dedicated
in honor of Amun by, or for, a "Singer in the Interior of the Temple of Amun"
named Ankh-nes-nefer-ib-re. Because that title was not born by the God's Wives,
and since the personal name is not enclosed in a cartouche (as on the top of the
base), it should be assumed that this Ankh-nes-nefer-ib-re is a different person
than the God's Wife of the same name.
Inscriptions:
Sides of base: Words said by Amun-Re, Lord of the Thrones of the Two Lands, who loves Thebes, as he gives
life, rejuvenation and health, a [long] lifetime and great [praises], sweetness of heart and happiness every
day, [with] eyes seeing and ears hearing, for the Singer in the Interior of the [Temple of ] Amun, Ankh-nes-
nefer-ib-re ....daughter of.. justified.
Top of base: Amun-Re, Lord of the Thrones of the Two Lands, who loves Thebes, protector of the [First]
Priest of Amun Nitocris, daughter of the Lord of the Two Lands, Amasis. May he live! Her mother is the
Divine Adoratress Ankh-nes-nefer-ib-re. May she live!
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43.
STELA OF IHARSIESE
Late Period, Early Dynasty 26,
ca. 664 B.C.
Wood, gesso, pigment
i: 16 3/4; W: 13 3/8; D: 3/4 in
(43.3 x 34.4 x 1.8 cm)
OIM 12220
THIS STELA SHOWS the priest of the god Montu, Harsiese adoring the gods
Re-Horakhty (left) and Atum (right). As was common with private stelae of this
period, the dedicator is shown on the extreme left and right within a colorful
frame that represents the perimeter of a temple or shrine. At the top of the stela,
Behdeti, a creator god represented by a great winged disk, hovers below the vault
of heaven which is delimited by a frieze of heavenly stars.
To the left, Harsiese, with shaven head and a mid-calf kilt covered with the panther
cloak of a priest, raises his hands in adoration of the falcon-headed god Re-Horakhty.
A cone of perfumed fat-a symbol of purification-rests on his head. A low table
heaped with gutted fowl and round and tall loaves of bread for the god stands
between Harsiese and the deity. A large lotus, an emblem of rebirth, is placed atop
the food offerings. Re-Horakhty wears a tight fitting garment with shoulder straps
fastened with a knot. He carries the hieroglyphs for life and dominion. To the right,
Harsiese, dressed in the same manner, but here wearing a heavy wig with a perfume
cone, and a short false beard, adores the god Atum who wears the double crown.
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LATE PERIOD
The imagery and the text (Spell 15 from the Book of the Dead) below the represen-
tations are an extended reference to rebirth by the deceased following in the path
of the eternal cycle of the sun. The god Re-Horakhty on the left was mythologically
equated with the new sun that was reborn at the break of day, while Atum was
associated with the setting sun. In the text of the stela, Harsiese's name is associ-
ated with that of Osiris, the god of the afterlife, indicating that he has been reborn
in the realm of the gods. A stela such as this might have been placed in a local
temple to commemorate the deceased.
Inscriptions:
Lunette: Behdeti, the Great God.
Left: The God's Father, beloved of the god, Seeker of the Sound Eye, Harsiese, justified. Re-Horakhty.
Lower Left: Words said by this Priest of Montu, Lord of Thebes, the Osiris, Harsiese, justified, son of the
Robing Priest, Ankh-ef-en-khonsu the elder, justified, "Hail to you when you rise in your horizon as Re satis-
fied with Maat! You have crossed the sky and everyone sees you. When you have gone and are hidden from
their face(s), you place yourself in the underworld every day. People prosper when they row your majesty,
for your rays are in their face(s), although unrecognized. There is nothing of electrum, there is not one who
reports..."
Right: Atum. The priest, Adorer of the God, Harsiese, justified.
Lower Right: Words said by this priest of Montu, the Lord of Thebes, the Osiris, Harsiese, justified, born of
the Mistress of the House, Mut-hotep, justified, "Hail to you who has come as Atum, having become the cre-
ator of the gods! Hail to you who has come (as) holy spirits who are in the west! Hail to you foremost of the
gods who illuminates the underworld with his beauty! Hail to you who conveys the blessed, who rows as he
who is in his disk] Hail to you who are greater than the (other) gods, who arises in the heaven and who rules
the underworld!"
44.
DONATION STELA THE TEXT ON THIS STELA records that King Necho II made a donation of
Late Period, Dynasty 26, reign of halfa grass to the temple of Thoth in Busiris (modern Abu Sir in the Delta), in
Necho II, 599 B.C. order to maintain a lamp that burned in that temple. Such transfers, referred to as
Limestone
donation decrees, are a prominent feature of the Egyptian economy. In ancient
l-: 19 1/2; W: 11 /3; D: 3 1/8 in
Egypt, all land ostensibly belonged to the king, who granted its use to temples and
(50 x 29 x 8 cm)
OIM 13943 individuals. Such land grants were made in return for service to the state, in con-
nection with state offices, or for the maintenance of temples. The holder of the
land could profit from its productivity, or from sub-letting it, yet the state main-
tained actual ownership of the real estate.
In the decree on this stela, the produce grown on a particular estate was trans-
ferred from one recipient to another. In precise bureaucratic fashion, the adminis-
trator of the temple of Thoth, Djed-thoth-iu-ef-ankh, who received the grant, is
named. Another man, Pa-di-neshmet, son of Kherem-hor, "who came concerning"
the grass, may have been in charge of the lands upon which it was grown. The
curse at the end of the text is typical of many legal documents.
The upper portion of the stela shows a small figure of Necho II, dressed in a kilt
with the bull's tail that symbolized his power, and the double crown, presenting
the hieroglyph for "field" to three gods. The god directly before the king is Osiris,
the principle god of the city of Busiris. The unnamed goddess behind Osiris is
probably his wife Isis. The ibis-headed god Thoth, whose temple was the beneficiary
86
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of the endowment, is shown to the left. The lunette is filled with a large winged
disk representing the god Behdeti over a thin, curved, hieroglyph for "sky."
Unlike most stelae on which the text is carefully spaced, here it stops two thirds
of the way through the last line. The blank section at the bottom of the stela
suggests that it was inserted into a base for display to serve as a reminder of the
royal gift to the temple. It is not known under whose reign the cartouches of
Necho were defaced.
Inscription:
Year 11,under the majesty of the lorus, the perceptive one, the Two Ladies, justified, Golden Horus, beloved
of the gods, [Wehemibre], Son of Pe, [Necho], living forever. His majesty donates this halfa grass of [the
estate of] Pa-en-na-mesw in the Busirite nome to maintain a lamp of Thoth, bull of the great temple in
Busiris, under the authority of the Doorkeeper of Thoth, Djed-thoth-iu-ef-ankh, son of Padihor by Pa-di-
neshmet, son of Kheremhor who came concerning it. (As for) any scribe or official or any man or anyone
who shall come to the field to take (from it), or to do things in it on earth, his name shall not exist on earth,
his son and daughter shall not grow up on earth, and he shall not be buried in the necropolis.
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Ili
i,
A'
a;
TR.t>
C ..
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45.
COMPOSITE DEITY T H SGOD RE P RESENTS the fusion of several deities, the result being a fan-
Late Period, Dynasties 26-31, tastic being with special protective powers. He has two faces; that looking forward
ca. 664-332 B.C.
is of the jackal god Anubis, that to the back is a falcon, the symbol of Re or Horus.
Bronze
5 His tail is forked and feathered like that of a falcon. He holds cobras in each hand,
I-I: 5 /a (14.5 cm); Base: L: 2 5/8;
W: 21/4; : 3/4 in (6.8 x 5.9 x 1.8 cm) a pair of vultures emerge from his knees, and he stands on a pair of crocodiles
OIM 11375 which are encircled by another serpent.
Throughout their history, the Egyptians had a predilection to combine deities into
composites such as Amun-Re, or Ptah-Sokar-Osiris, that were honored alongside
the uncombined forms. This syncretistic tendency became a strong element in
religion in the Late Period, and often the individual elements of the resulting com-
binations cannot be identified.
The cobras in the hands, the vultures from the knees, and the crocodiles under the
god's feet function on several different levels of symbolism. On one hand, these
are wild, untamed animals of the desert-archetypal symbols of danger. Yet, they
were considered to have ambivalent natures-the snake Apophis was the ultimate
evil god, yet a great snake, Mehen (no. 2), protected the sun god in the dark hours
of the night and a protective serpent, the uraeus, appeared on the forehead of the
king. An animal's dangerous aspect could be mastered by a superior god. In this
case, the composite god stands upon the crocodiles and immobilizes the snakes in
his grasp, a feat that is referred to in magical spells: "Every male and female serpent,
every snake, every lion, every crocodile is under the feet of this god," and thereby
neutralized. This theme of mastering and trampling animals is related to scenes of
the king trampling upon his foreign enemies, a theme that was employed
throughout all of the pharaonic period and persisted into the Byzantine era.
The mastery of animals was not the only way that their evil nature could be sub-
dued. Other Egyptian magical texts refer to turning evil against evil and to the sub-
jugation of animals serving as allies against their own kind. Hence the subjugated
snakes and crocodile would protect against the bite of those same creatures.
Statuettes and amulets of composite deities conquering and allying themselves with
evil animals were intended to protect against the bite and sting of wild animals and
to generally protect against evil.
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LATE PERIOD
46.
DEMOTIC "MARRIAGE" T H IS T E XT IS A M O N G TH E earliest known examples in demotic script of
PAPYRUS what is commonly referred to as a "marriage contract," a legal document that spec-
Late Period, Dynasty 30, year
ified both spouses' property rights. Egypt was among the rare cultures in the
17 of Nectanebo I
ancient world in which women could inherit, hold, and transfer property separately
(December 365-64 B.C.)
Papyrus, pigment
from their husbands, and so contracts were drawn up to specify not only what
L: 97 /2; W: 14'/5 in (230 x 37 cm) property may have been brought into the marriage, but also its disposition in case
QIM 17481 of divorce or death.
The text details the holdings of the husband and the disposition of his property
among children who may be born to him by his wife, named Peset, and also directly
to his wife in the case of divorce. Among the provisions of the endowment are:
"There belongs to the children which you will bear to me everything which I possess
and that I shall acquire, house, field, courtyard, building plot, male servant, female
servant, all animals and all title, deed and contract in the world that I possess."
If the couple divorces, the woman is promised a certain ration of grain and
amounts of silver "for your yearly sustenance and clothing at whatever dwelling
you have preferred."
Such documents were themselves not legal proof of marriage nor a requisite for
marriage. Certainly not every couple commissioned such a document, for the role
of such contracts was the regulation of property and the patterns of inheritance of
jointly or solely held property. Marriage in ancient Egypt was a relatively informal
matter that consisted mainly of a man and woman living together, ideally in their
own household. There was little shame in divorce. Either partner could institute
divorce, and thereafter both were free to remarry. The brief genealogy given for
the man and his wife indicate that they were half brother and sister, an arrange-
ment that may have been favored for keeping family fortunes intact.
oi.uchicago.edu
The reverse of the papyrus is inscribed with a list of thirty-six witnesses. Some of
them list their professions, or the professions of their father, such as "Scribe,"
"Deputy of Sobek," and "God's Father." The document states that any changes to
it made by the woman or a witness could be sworn only "in the building in which
are the judges."
The document is made of twelve joined sheets of overlapped strips of papyrus

fibers. It is inscribed on both sides in the elegant cursive script called demotic that
was used to write the ancient Egyptian language from about 6oo B.c. to A.D. 450.
The script is written from right to left. The large decorative hieroglyph for "year"
that begins the document is like an uncial capital; it begins the phrase; "Year 17
[month] Paopi of pharaoh, life, prosperity, and health, Nectanebo."
For translation, see Nims 1958, pp. 239-40, and Jasnow 1997, pp. 11-12 in Appendix 3.
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LATE PERIOD
47.
HEAD FROM A CAT COFFIN TH I S FINE R E P R E S E N TAT I O N of a cat's head once decorated a coffin for a
Late Period, Dynasties 26-31, mummified feline. Although many such "cat masks" are known, no examples
664-332 B.C.
have been found in situ, and it has been suggested that they were attached to the
Bronze
outside of a wooden coffin, much in the manner in which human coffins had a
H-:6 1/4; W: 4 3/4; D: 4 /2 in
human face and hands attached in high relief.
(16 x 12.2 x 11.7cm)
OIM 18826
The practice of widespread animal sacrifice in connection with the veneration of
gods appeared in the late second millennium B.c. and reached a zenith in the
Ptolemaic Period (4 th-Ist centuries B.c.). The sacrificed animal was an avatar of
the deity of the temple, but the animal itself was not considered to be sacred.
Many types of animals were sacrificed. Cats were associated with the goddesses
Bastet and Sekhmet, baboons and ibises were sacred to the god Thoth, hawks and
falcons symbolized Horus, and dogs and jackals were associated with Anubis.
Animal sacrifice was a very common practice, as attested by the ibis catacombs at
North Sakkara that are estimated to hold the remains of more than four million
bird mummies. The animals kept specifically for this purpose were raised by tem-
ple workers in pens near the temple to the particular deity. X-ray examination of
mummified cats has indicated that the majority were about ten months old at
death, and that most were killed by having their neck wrung. They were then
mummified. Some were carefully wrapped in elaborate bandages, and some even
have ears and faces molded in linen. Some were encased in wood or bronze
coffins, and others in simple pottery jars. Once prepared, the mummy was sold to a
pilgrim who visited the temple. The visitor then donated it to the temple as a sign
of his or her piety. The animal mummy was eventually placed in a catacomb or
communal grave. This practice was an important source of revenue for the temples.
Cat cemeteries are known from many locations in Egypt, but the main cult center
of the deity Bastet was at Bubastis (Tell Basta) in the northeast Delta. The cata-
combs were known as "the resting place of the cats."
92
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,s
;-
,., ,
a°.
.,
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LATE PERIOD
48.
ORACULAR STATUE IN THE
FORM OF A FALCON
Late Period, Dynasties 26-31,
664-332 B.C.
Serpentine (beak is modern
restoration)
H: 231/4; W (breast): 91/4; D (base):
217/a in (59.6 x 23.4 x 55.9 cm)
O!M 10504
THIS STATUE OF A FALCON represents the god Horus. The legs are carved
with an indication of scales, but there is little definition of the feathers. The eye
sockets have traces of a black mastic-like substance that would have secured
pupils. Other contemporary statues of falcons suggest that the bird originally wore
a double crown.
A hole runs from the tail of the bird through the body to the crown, then down to
the beak. It is unclear if the purpose of this considerable undertaking was to con-
nect the underside and invisible part of the bird to the beak, or to connect the
underside to the beak and the top of the head. Since the channel does not appear
to have any structural use, it must be functional, perhaps in association with deliv-
ering oracles. Some Late Period oracles employed statues of animals, some of
which were thought to give their decision not through nodding, as with many New
Kingdom oracles, but by actually speaking. Several other statues associated with
oracles have holes bored through them, presumably to allow the voice of the priest
to reach the petitioner. A statue of the falcon god Re-Horakhty and one of the dei-
fied Queen Arsinoe were bored out in a manner similar to this falcon. The base for
an oracle statue excavated at K6m el Wist (near Alexandria) was found to be connected
to what has been taken to be a bronze "speaking tube" that relayed the voice of
priests to the petitioner. Similar ways of allowing unseen priests to become involved
in oracles have been noted at temples at Karanis, Kom Ombo, and Dendera.
The heavy brow ridge of the falcon, the lack of detail in the feathers, and the mark-
ings on the face suggest that this sculpture dates to the Late Period rather than to
the New Kingdom, as has previously been suggested. Its proposed use as an oracle
would also indicate a Late Period date.
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49.
THOT I EMBLEM THIS EN I G MATIC OBJECT represents an offering that is shown in temple
Late Period, Dynasties 26-31, offering scenes from late Dynasty i8 (ca. 1350 B.c.) into the Roman Period. It rep-
664-332 B.c.
resents a baboon, a form of the god Thoth. His torso and flexed legs have been
Glazed faience
rendered as the stylized hieroglyph that is commonly used in other contexts to
H: 6 5/s; W: 3; D: 51/2 in
(17.2 x 7.7 x 14.1 cm) represent seated gods (see no. 51). Long locks, or plaits, descend from the ape's
OI 10101 brow down his mid-back, cascading over his mane which, based on other exam-
ples, is indicated by a series of incised lines. The ape rests against a pillar, the top
of which, to judge from other intact examples, may originally have been forked.
The platform upon which he rests is a stylized basket decorated with a central
diamond pattern filled with a floral pattern that is the hieroglyph for "festival."
Although the origins of this composition are obscure, it is associated with time
and time keeping. Bronze instruments that measured time by the passage of
water, using the same principle as an hourglass filled with sand, are known from
the Ptolemaic and Roman Periods. They are composed of a rectangular column
with a baboon seated at its base. On this Thoth emblem, that column is represent-
ed by the pillar-which is the hieroglyph hen, meaning "time." The baboon god
Thoth was traditionally associated with the reckoning of time, and he is also used
to decorate large vessels that functioned as water clocks (see no. 55).
Temple reliefs that show the king presenting a Thoth emblem to the gods appar-
ently symbolized the ruler's eternal commitment to maintain the land on behalf of
the gods. It is possible that this statue was originally part of the furnishings of a
temple, and that it was employed in such a ceremony. Although a score of these
statuettes are known, very few have a sure provenance or a well-defined date.
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LATE PERIOD
50.
RITUAL VESSEL (SITULA) COOL WATE R WAS O N E of the most important funerary offerings, for it was
Late Period, Dynasties 26-31, thought that the deceased needed refreshing beverages in the afterlife. A category
664-332 B.C.
of funerary priests, called wah mu, later referred to as choachyte, were engaged to
Copper alloy
pour water libations in funerary rituals. Such offerings were most commonly held
I-1(overall): 12 '/8; - (of vessel): 7 7/8;
D (of rim): 2'/4; Maximum D: 51/2 in
in handled buckets called situlae. This example is incised with a scene of a priest
(30.7 x 19.8 x 5.7 x 13.9 cm) of Montu named Pen-maa offering to his deceased mother. With his right hand,
OIM 11394 he pours water onto a low offering table in the form of the hieroglyph for "offer-
ing." He holds a long incense burner in his left hand. The handle of the incense
burner is decorated with a hawk head. Its other end is in the form of a human
hand that holds the smoking incense cup.
Pen-maa wears a long skirt under a leopard skin cloak, the standard garb of funerary
priests. His mother, whose name is Ta-baket-en-ese, is shown seated before a table
of offerings stacked with tall loaves of bread. She holds a handkerchief, a frequent
pose of unclear symbolism, in her left hand. The hieroglyphic text that covers most
of the surface of the situla is Utterance 32 from the Pyramid Texts, a body of religious
recitations that was compiled nearly 2,000 years before this situla was inscribed.
Inscriptions:
Recitation: This cool water of yours Oh Osiris foremost of the Westerners, the great god, Lord of Abydos-
this cool water of the Osiris Ta-baket-en-ese, justified, daughter of the Priest of Montu, Lord of Thebes,
Overseer of the Cattle (?) Padi-Amun-nefer-hetep, justified, her mother being the Mistress of the House
Nesy-hor-has gone forth to your son, has gone forth to Horus. I have come bringing to you the eye of Horus
that your heart may be refreshed by it, bringing it under your two sandals. Take to yourself the flow that
comes forth for you. You heart will not be weary with it. Recite four times: come that you might come forth
at the voice!
Above priest: His [sic] son, the Priest of Montu in Thebes, Pen-maa, presenting incense and liquid offerings.
96
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-_
A
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LATE PERIOD
51.
BOOK OF THE DEAD THIS SECTION FROM a Book of the Dead belonging to a man named Neysu-
Late Period, Dynasty 31-early shu-tefnut, the son of Sep-en-hor and Esereshti, shows Chapter 125, the weighing
Ptolemaic Period, 4th century B.C. of the heart. According to Egyptian funerary beliefs, the heart of the deceased was
Papyrus, pigment weighed before a tribunal of the gods to verify his or her moral goodness. If the
H:o
N: 14 9787
3/4; L: 360 4in (37.5 x 914 cm) deceased passed the judgment, he or she would be reborn in the afterlife.
This section of the papyrus depicts Osiris, the god of the underworld, seated in a
shrine placed within a larger shrine with a decorated top. Before him in the upper
register are the forty-two Gods of the Hall of Two Truths-the judges of the
dead-all of whom except one, wear a feather, the symbol of truth, on their heads.
To the lower right is the deceased, wearing the sash of a priest, saluting Maat, the
goddess of truth. Dominating the area in the center of the vignette is the scale
upon which the heart of the deceased (shown as a small vessel in the right pan) is
weighed against the small figure of Maat. The falcon-headed god Horus, and
Anubis, the guardian of the necropolis, guard the scale, while Thoth, the god who
records the outcome, is represented both by the seated baboon on top of the scale
and by the ibis-headed figure who stands with his raised ink palette and pen.
Between Thoth and Osiris is a stand that supports the terrible monster, Ammet-
part crocodile, part lion-who will swallow the heart of the unjust. Above Ammet
are the Four Sons of Horus who guard the viscera of the deceased.
The papyrus employs both hieroglyphic and hieratic scripts. The more formal
hieroglyphs were used as captions for the representations, a pairing found in
Egyptian reliefs. The more cursive hieratic was employed for the longer text that
was not associated with the vignette. The name of the deceased is neatly integrated
into the hieratic text, yet it has been omitted from the hieroglyphic text accompa-
nying the judgment scene. This suggests that the papyrus may have been pur-
chased with the vignette already painted, and that the hieratic text was added later
by a different scribe working on a special commission for Neysu-shu-tefnut.
Several corrections in the hieratic text indicate that the second scribe carefully
checked his work.
Neysu-shu-tefnut was a fairly low level priest who served as "Priest of Khonsu,"
"Priest of the Falcons who live in the Sacred Tree," "Priest of the Great
Foundation," and "Fourth Priest of Osiris."
For translation of this vignette of the papyrus, see Allen 1960, pp. 202-03, in Appendix 3.
98
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Stlmac
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52.
STATUE BASE OF DJED-HOR THIS BLOCK, WHICH ONCE held a statue in the recess on its top, was com-
Early Ptolemaic Period missioned by a man named Djed-hor, the "Doorkeeper of Horus Khenty-Khety"
(Macedonian Dynasty), reign of
and "Chief Guardian of the Falcon with All his Goods" who worked in a temple at
Philip Arrhidaeus, ca. 323-317 B.C.
Athribis caring for sacred falcons.
Basalt
L: 22; W: 13; H-:12 3/8 in
The right side of the base is incised with a scene of Djed-hor in the company of
(56.2 x 33.5 x 32 cm)
his seven sons. Their heads are shaven in the manner of priests. The name of
OIM 10589
each son, with the name of his father and mother, is given. The opposite side of
the base shows the female side of the family with Djed-hor. Four daughters are
shown, as are two different, presumably consecutive, wives. Each woman carries
a pair of rattles called sistra. The sistra in their left hands are topped with a shrine-
shaped structure; those in their right hands bear a Hathor head under the plain
loop. The areas not devoted to the scenes of Djed-hor and his family are covered
with incised hieroglyphs that relate his accomplishments and his devotion to
the gods.
From these texts we know that he was regarded as one "who carried out rituals for
those in the city in order to save them from the poison of every male and female
viper and every kind of snake.. ." Another statue of Djed-hor in Cairo, which was
commissioned later than the Chicago statue base, indicates that he acquired semi-
divine status as a reciter of magical healing spells. It is likely that the statue that
once stood on top of this base, like the Cairo statue, was covered with magical
texts. Water would have been poured over the statue, magically absorbing the
protective power of the spells. The liquid was then drunk as a cure for afflictions
(see no. 53).
oi.uchicago.edu
PTOLEMAIC, ROMAN, AND BYZANTINE PERIODS
The texts also relate much about his career caring for the sacred falcons in the
temple at Athribis. During the Late Period, animals sacred to a particular god were
raised by priests of that deity. The animals were mummified and sold to pilgrims
who dedicated them to the god as a sign of their piety (see no. 47). The payment
(in kind) from the pilgrims provided upkeep for the temple and its staff.
The texts on the front and back of the statue base of Djed-hor recount that he
"served in the service of the falcon for many years" and that he helped both in the
care of the living animals and in the preparation of the mummies. He boasts that
he was responsible for building a new embalming house at Athribis complete with
a garden with sweet-smelling trees (perhaps a necessary antidote to the falcon
yards), and a deep well "whose depth was as far as Nun" (the primordial waters).
He also comments that he corrected certain irregularities in the mummification
procedures: "Falcons had been found in the chamber of seventy [one of the side
rooms of the catacombs?] which had not been embalmed. I caused them to be
embalmed with merhet oil. (Then) I caused them to rest in the necropolis." He also
comments that "I prepared their (falcon) burials in the necropolis... hidden there
from foreigners," suggesting that prior to the conquest of Egypt by Alexander the
Great, the Egyptians felt that they had to hide the sacred mummies from the
Persian invaders.
For translation, see Sherman 1981, pp. 90-1, in Appendix 3.
102
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53.
HORUS ON THE CROCODILES
Ptolemaic Period, 4th century B.C.
Steatite
H: 5'/2; W: 23/8; D (base): 15/8 in
(14.2 x 6.2 x 4.7 cm)
OIM 16881
THIS HEAVILY DECORATED statue-stela was thought to magically cure, or

to afford protection from, the sting and bite of evil animals and to generally ward
off evil influence. The stela, also known as a "cippus of Horus," is carved with a
figure of the god Horns, his youth and vigor indicated by nudity, the immature
fleshiness of his body, and the side lock usually worn by children. His power is
demonstrated by his domination of evil animals-he stands on the back of croco-
diles and he holds serpents. scorpions a lion, and an oryx in his hands. The head
oi.uchicago.edu
of the protective god Bes appears above Horus. The background is carved with
images of protective deities. Isis hiding her son Horus in the marshes of Chemmis
and Neith with crocodiles at her sides appear to the upper right and left. Horus in
his ithyphallic falcon-form, likewise standing on evil animals, is at each shoulder.
The entire composition is framed by slender papyrus and lotus columns with
emblems of Horus (left) and Nofertum (right). The center of the base is decorated
with other, more abbreviated, images of Horus.
The sides, back, and underside of the stela are covered with finely incised hiero-
glyphic spells that call upon deities to protect against evil. The text begins: "Oh old
one who rejuvenates himself in his time, Oh, old one who makes youth! May you
cause Thoth to come to me at my voice." The text is a reference to the myth that
Horus, who died from the sting of scorpions, was revived by the power of Thoth.
After his revivification, he became the protector of others from such a fate. Water
poured over the inscribed surfaces of the cippus was thought to absorb the poten-
cy of the prayer and the protective power of the deities. The water was drunk by
the afflicted to effect magical protection.
Cippi were most popular in the Late Period. Some, whose lower edges were not
decorated, were apparently socketed into bases carved with a receptacle to collect
the protective water in the way that the Cairo statue of Djed-hor was mounted
on a basin.
For translation, see Seele 1947, pp. 47-48, in Appendix 3.

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54.
CULT STATUE OF QUEEN THE PTOLEMAIC KINGS WHO ruled Egypt after its conquest by Alexander
ARSINOE II the Great in 332 B.c. were of Greek origin. These foreign kings adopted many
Ptolemaic Period, reign of
Egyptian religious, artistic, and cultural customs as a way of legitimizing their rule
Ptolemy II, 284-246 B.C.
over the native population. This fragment of a statue of Queen Arsinoe II is a relic
Basalt
L: 213/8; W: 13'/4; N: 4'/3 in
of the state-sponsored cult of the deified Greek queen. The posthumous deifica-
(55 x 33.7 x 1 cm) tion of Arsinoe II was proclaimed by her brother-husband Ptolemy II in 270 B.c.,
OIM lo518 and, according to a royal decree, statues of the deified queen were placed in both
Egyptian and Greek temples throughout the country. The temples and priesthood
of the deified queen were supported by taxes levied upon gardens and orchards,
and several cities, as well as an entire administrative province of Egypt, were
named in her honor. The popularity of the cult set a precedent for the later estab-
lishment of a cult of the royal rulers in Egyptian temples.
The front surface of this statue base is inscribed in Greek with her divine name
"Arsinoe Philadelphos" (Arsinoe, the Brother-Loving [Goddess]), while the top of
the base is covered with her titulary and epithets written in Egyptian hieroglyphs.
It is one of the few examples of a statue base inscribed in both languages. This
bilingual labeling ensured that the identity of the statue was known to both Greeks
and Egyptians. The lengthy text that appears in hieroglyphs was not translated into
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PTOLEMAIC, ROMAN. AND BYZANTINE PERIODS
Greek because, as suggested by a reference to the Karnak Temple, the statue may
have been placed in a Theban temple that would have been visited primarily by the
native population. The epithets "beloved of the god Re" and "daughter of Amun"
were traditionally Egyptian, and they would have appealed to the local population.
A unique feature of this inscription is her epithet "the wise," which may indicate
that Arsinoe was literate.
Inscription:
The great soul, daughter of Amun, god's wife, sister of the King of Upper and Lower Egypt, Lord of the Two
Lands, User-ka-re-mery-amun, daughter of Amun, Arsinoe. The great benefactor, beloved of Re, wife of the
king, son of Re, lord of Appearances Ptolemy, daughter of Amun, Arsinoe. The lady, beloved of Ptah, royal
sister of the King of Upper and Lower Egypt, Lord of the Two Lands. User-ka-re-mery-amun, daughter of
Amun, Arsinoe the wise, beloved of Thoth, royal daughter of the Lord of the Two lands Setep-en-re- mery-
amun, Lord of Appearances, Ptolemy (I), daughter of Amun Arsinoe, beloved of Amun-Re, Lord of the
Thrones of the Two Lands, the foremost of Karnak, beloved of Mut the great, Mistress of Isheru, and
beloved of Khonsu in Thebes, Nefer-hotep.
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55.
WATER CLOCK (Clepsydra)
Ptolemaic Period, reign of Ptolemy
II, 284-246 B.C.
Limestone, carnelian beads

H: 20 '/2; D (top): 26'/4 in
(52.5 x 67 cm)
OIM 16875
THE EGYPTIANS CAREFULLY recorded time for state, economic, agricultural,

and sacred functions. For much of Egyptian history, most events were tied to the
civil calendar that was made up of three seasons of four months each. Each month
had thirty days, with five additional days added to the calendar to equal the 365
days of the earth's rotation about the sun.
Time was measured by observation of the sun and stars, and also with measuring
devices like this water clock-a vessel that equated a volume of water with a spe-
cific length of time--much as an hourglass measures time with sand. The earliest
reference to a water clock is in a biographical text of the courtier Amunemhet who
claimed that he made one for King Amunhotep I (ca. 1526 B.C.). The oldest surviv-
ing example (now in Cairo), dates to the reign of Amunhotep III, some 200 years
later. Water clocks continued to be used in the Far East into recent times.
The exterior of this water clock is decorated with twelve panels, each representing
a month of the calendar. The first month of inundation and three of the four months
of summer are explicitly labeled, while the other months of the year are identified
only by the deities associated with each month. A large figure of a seated baboon
representing the god Thoth, the reckoner of time, sits at the front. The gods and
months clockwise from the Thoth are: Tehy (month I of inundation): Ptah (month
2 of inundation); Hathor (month 3 of inundation); Sekhmet (month 4 of inundation);
Mut (month i of winter); Min-Kamutef (month 2 of winter), Ta-weret (month 3 of
winter); Renenutet (month 4 of winter); Khonsu (month i of summer); Sekhmet
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PTOLEMAIC. ROMAN. AND BYZANTINE PERIODS
(month 2 of summer); Ipet (month 3 of summer); and Re-Horakhty (month 4

of summer). The second month of winter is usually personified by a hippo-type
creature or by a jackal, rather than by Sekhmet.
The interior of the water clock is drilled with holes against which the water level
was measured. These holes are arranged in twelve vertical rows separated by large
ankh or djed hieroglyphs. Twelve separate calibrations were necessary because the
length of the night, and hence each hour, was shorter in the summer months than
in the winter.
Some water clocks worked on an outflow system in which the water flowed from
the container, while others measured the level of water as it entered the container
at a specified rate. Since the uppermost hole in each row is at approximately the
same level from the rim, and the holes stop about two thirds from the bottom of
the vessel, this clock must have worked on an outflow system. However, this water
clock lacks any sort of drain hole, suggesting that it was never finished. The brief
hieroglyphic text for the second month of inundation suggests that this clock was
a cult object, perhaps a votive, non-functioning clepsydra used in the cult of the
deified Queen Arsinoe II (see no. 54).
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56.
RELIEF FRAGMENT
Ptolemaic Period,
4th-lst centuries B.C.
Limestone
H4:153/4; W: 16 s/8 in (40.7 x 43 cm)
OIM 19517
T H I S RE LI E F O F A W O MAN exhibits the characteristic artistic style of the

Ptolemaic Period. Among the most obvious features are the firm round breast
placed very high on the chest and the small pursed lips. The woman is shown
wearing a heavy wig with curls represented as rounded half-cylinders that fall
upon her brow and in front and back of her right shoulder. She wears armlets
and a beaded collar banded with tear-drop shaped beads. The straps on her V-neck
dress would have been indicated in paint. She wears a headdress in the form of a
vulture, the wings of which reach her shoulders. This cap, which was associated
with Nekhbet, a goddess in the form of a vulture, is known from the Old Kingdom
(ca. 2500 B.C.), at which time it was worn by queens and goddesses. In the New
Kingdom and Late Period (ca. 1550-332 B.C.), it is shown in a wider variety of con-
texts. It was worn by princesses who served as priestesses (see no. 40), and it also
was shown on coffins of elite women (see no. 38), where it alluded to the deceased's
association with the gods. In the Ptolemaic Period (4 th century B.C.-Ist century A.D.),
princesses no longer occupied the highest priestly offices, and the vulture crown
was again restricted to queens and goddesses. Since the context of this fragment
is unknown, the identity of the woman-whether she is a queen or a goddess-
cannot be determined.
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SANDAL ALTH O U G H M A N Y P A I N T I N GS and reliefs depict people barefoot, texts,

Ptolemaic-Roman Periods, representations, and archaeological evidence from the earliest times indicate that
2nd century B.C.-2nd century A.D.
Egyptians would, at least on occasion, wear some sort of foot covering. Throughout
Palm fiber (?)
most of the pharaonic period, Egyptians wore an open sandal, most examples of
L: 13; W: 3 3/8 in (33.4 x 8.75 cm)
OIM 7189
which consist of a woven sole with a strap that passed over the instep and a thong
that passed between the first and second toes. Some tomb paintings depict another
strap around the ankle. Most examples of sandals are made of woven palm or
other rush material, although some examples are made of wood or leather and
ceremonial or funerary sandals made of gold and silver are also known.
Shoes and more elaborate sandals appear in the Late Period and Ptolemaic eras
( 7th-ist century. B..). This example of a sandal that nearly encloses the foot is
made of three parts. The sole is plaited of broad strips of fiber. A slender bundle
of long fibers has been sewn around the edge as reinforcement and decoration.
The upper part of the sandal is made of a I '/4 inch wide by approximately 21zIinch
long strip that surrounded and enclosed the foot except for the top surface of the
toes. The strip is made of two layers of reeds. The inner facing was made of the
same type of reeds and with the same plaiting technique as the sole. This was cov-
ered with a woven layer of finer, narrow fibers to produce a decorative outer sur-
face. The layers were joined by sewing several fibers along their edges. The strip
was then attached to the sole by thin fibers sewn through pairs of holes spaced
along the sole. The third element of the sandal-two thongs that passed between
the first and second toes-is made of coils of fiber.
The distance from the heel to the thong emplacement indicates that the sandal is
the equivalent of a man's 5 or 5 I/2 or a woman's size 7 or 7 '/2 (American). It was
for the right foot. Approximately three inches of the front of the sandal extended
beyond the toes. Although today the sole is flat, representations of shoes from the
Roman era suggest that the toe was probably curled upward (see no. 40).
The technique used for plaiting the sole and inner facing of this shoe is character-
istic of the Ptolemaic and Roman Periods. Rush work sandals from earlier periods
are generally made of rows of basketwork rather than of plaited reeds.
oi.uchicago.edu
58.
MUMMY MASK IN THE PTO LEMAIC and early Roman Periods (4 th century B.c.-3rd century
Roman Period, Ist century B.C.-
A.D.), a standard part of funerary equipment for the elite was a mask that covered
early 2nd century A.D.
the head and shoulders of the mummy. Although the faces on these masks are
Cartonnage, linen, pigment, gilt
H: 151/2; W: 93/4; D: 10'/ in highly stylized and do not resemble any specific individual, they were thought to
(40 x 25 x 24 cm) immortalize the deceased and to ensure eternal existence in the afterlife. A major
OIM 7177 concern of ancient funerary beliefs was that the mummy might decay, for it was
believed that the body had to remain intact for the deceased to function in the
afterlife. Preservation was also associated with the ability of an aspect of the soul
called the ba, which was thought to leave the mummy during the daytime, only to
return to its recognizable body at nightfall. The representation of eyes, nose, mouth,
and ears on the mask provided imperishable and functional substitutes for those
facial features. The mask also symbolized the deceased's assimilation to the gods
in the afterlife.
This mask appeals to all of these functions. An image of the soul of the deceased
appears on top of the mask, symbolizing its unification with the mummy. Usually
represented as a human-headed bird, here it is shown as a head emerging from
the body of a winged scarab-the symbol of the sun that was born anew each
morning-an allusion to eternal rebirth and life. The association of the deceased
with the gods is indicated by the liberal use of gold leaf on the face-a reference to
the belief that the gods had skin of gold. The small pendent on the neck, in the
form of the hieroglyph for the human heart, refers to the weighing of the heart at
the judgment by the gods (see no. 51). In the Graeco-Roman Period, men were
thought to be associated with Osiris, while women were more commonly assimi-
lated to Hathor. The images of Osiris on a funerary shrine that appear on either
side of the face suggest that this mask was made for a man.
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PTOLEMAIC. ROMAN. AND BVZANTINE PERIODS
59.
FUNERARY STELA OF
PA-SHER-O-PEITY
Early Roman Period, ist century
B.C.-lst century A.D.
Sandstone
-: 12 /8; W: 10 /8; D: 2'/3 in
(31x 26 x 6 cm)
OIM 5116
THE PTOLEMAIC AND ROMAN ERA tombs at Dendera consist of a series of

small, nearly square rock-cut tombs. Mummies were placed in niches cut into the
tomb walls, and stelae, like this one, were placed under the head of each mummy.
A common theme of the funerary stelae from Dendera was a traditional scene of
Anubis, the jackal-headed god of embalming, preparing a mummy that lies on a
bier with a lion head, legs, and tail. The goddesses Nephthys (right) and Isis (left)
raise their hands in an attitude of mourning. Their presence and actions are sym-
bolic of the association of the deceased with the god Osiris, who was mourned at
the time of his own death by the two goddesses. The lunette of the stela is decorat-
ed with a winged disk with pendent uraei.
The Anubis and mourners motif was very common from the New Kingdom
onward, attesting to the continuity of themes in religious iconography in ancient
Egypt. On this example, like others from Dendera that date to the early Roman
Period, the formalized liturgical hieroglyphic script which was normally employed
for such stelae has been replaced by cursive demotic, the script that was then
being used for ordinary purposes. The use of demotic on stone, especially on
funerary stelae, is relatively rare. Not only is the highly cursive script not well suit-
ed to engraving in stone, especially coarse-grained sandstone, but during the peri-
od of this stela's manufacture most were inscribed in the traditional hieroglyphs
or in Greek.
Inscription:
An offering that the king gives to Osiris, Isis, Thoth, and Anubis that they may give funerary offerings of
bread, beer, oxen, and fowl, offerings and every good and pure thing to the Osiris Pa-sher-o-pehty, son of
Pa-khy, his mother being Ta-khy that they may give him a good burial. May his house last forever!
oi.uchicago.edu
60.
MUMMY PORTRAIT
Roman Period, 2nd century A.D.
Wax (encaustic) on wood
Image H: 161/8; W: 98/ in
(41.5 x 23.5 cm)
OIM 2053
SOME OF THE BEST EXAMPLES of naturalistic art from ancient Egypt are
the so-called Fayum portraits, most of which date to the early and middle Roman
Period (zst to the mid- 3rd centuries A.D.). In these painted compositions, artists
employed the western, Graeco-Roman idea of portraiture in the effort to capture
the idiosyncratic features of the subject, including clothing, hairstyles, and facial
hair. The use of tonal gradations and the effects of light and dark were also inno-
vations of this style. The apparently middle-aged man shown on this example
looks directly at the viewer, but his body is turned slightly away as is characteristic
of such paintings. In contrast to the simple Greek-style tunic (chiton) that is com-
mon on such portraits, this man wears a very unusual elaborate purple tunic with
oi.uchicago.edu
PTOLEMAIC, POMAN, AND BYZANTINE PEPIODS
a white over-cloak. The neckline of the tunic is ornamented with a white collar.
The style of the tightly-curled hair and the closely-cut beard suggest a date of the
2nd century A.D.
In recent years, there has been considerable research into the question of who
commissioned these portraits. For many years, it had been assumed that people of
Graeco-Roman background who lived in Egypt were buried with portraits, whereas
native Egyptians continued to use the traditional masks (see no. 58). However, this
neat dichotomy did not take into account the social structure of the Roman Period.
At the time that the portraits were being produced, Roman law no longer differen-
tiated native Egyptians from those of Greek background, but grouped them together
as non-Roman citizens in a class called Aigyptioi. The elite among the Aigyptioi had
Greek names and used the Greek language, whether they were of Greek descent or
not. It is known that some of these elite members of society were native Egyptians,
and many of them also had Egyptian personal names. The Fayum portraits were
made to appeal to this elite part of the population of Roman Egypt, who were
either of Greek descent, or, through their profession, social status, and use of the
Greek language, considered themselves to be of the Hellenized elite. Yet the use
of the portraits in the wholly Egyptian funerary context of mummies indicates that
they regarded themselves also as Egyptian.
These paintings, normally done in encaustic (melted wax) or in tempera on board,

were bound over the wrapped head of a mummy. This custom is a good illustra-
tion of the permanence of traditional Egyptian funerary practices that dictated that
the facial features of the deceased be duplicated, and thereby preserved to serve as
functional substitutes for the vital facilities in the afterlife. Prior to the appearance
of Fayum portraits, this was ensured by the face on anthropoid coffins or by car-
tonnage masks (see nos. 38, 58).
The style of the simple pit tombs from which most of the portrait mummies were
recovered, the forms of damage suffered by the mummies, as well as demotic and
Greek texts, suggest that at least some of the portrait mummies were not buried
immediately after they were delivered to the family. One letter refers to the mummy
of a young woman: "She has been carried to Alabanthis, so if you come and if you
so wish, you can see her." It has been suggested that the mummies were displayed
in tomb chapels that could be visited by family and friends, a custom that was
unknown in the pharaonic period.
114
oi.uchicago.edu
61.
MASK FROM A FUNERARY
SHROUD
Late Roman Period,
mid-3rd century A.D.
Linen, stucco, gum, pigment
H: 10'/2; W:131/4 in (26.6 x 33.6 cm)
OIM 9385
TH E TRADITION OF P LA CING a representation of the deceased over the face

of the mummified corpse persisted well into the early Christian Period (4 th century
A.D.). In earlier centuries, the representations were in the form of cartonnage masks
that covered the head and shoulders (see no. 58), more naturalistic "portraits" painted
on board (see no. 60o), plaster heads, and shrouds with painted representations. By
the mid- 3rd century A.D., the cartonnage masks and "portraits" were replaced by a
piece of linen with a face molded in plaster in high relief. Referred to as shrouds or
masks, they are a hybrid. They are longer than the old style mask, covering much of
the front of the torso, but they do not cover the back of the head. More intact exam-
ples show that the torso with details of clothing was painted directly on the linen
below the molded face.
This sort of shroud shows the fusion of Egyptian and Roman influences. The prac-
tice of placing a representation of the deceased upon the mummy and the refer-
ences to traditional Egyptian funerary deities are traditional Egyptian conceptions.
On the shrouds they are combined with clothing, hairstyle, and jewelry that were
introduced into Egypt from Rome. On this example, the woman wears her hair in
curls around her face, exposing her ears, a style that is well attested for the 3rd
and 4 th centuries. She wears a floral diadem, a ubiquitous feature of these masks,
which is thought to symbolize the transfiguration of the deceased. Her Roman-
style earrings are painted in imitation of gold and pearls, and a rich necklace of
alternating colored gems, each framed in gold, is painted on the neck of her tunic.
oi.uchicago.edu
62.
LAMP IN THE FORM OF A BIRD WITH THE CONVERSION of Egypt to Christianity in the early centuries A.D.,
Byzantine Period, artists gradually adopted new decorative themes, such as peacocks, doves, and
6th-8th centuries A.D.
crosses, which were associated with the new religion. This oil lamp is fashioned in
Bronze
the form of a bird-most probably a peacock or a dove. Lamps in the form of a
H: 4; L: 4; W: 21/3 in
dove-a symbol of the Holy Ghost-were perhaps a pun, for the Holy Ghost
(10.5 x 10.5 x 5.85 cm).
Length of chain: 5 in (12.7 cm). enlightened mankind just as the lamp would bring light to its owner. The tail of
o1M 16734 this lamp forks into two spouts which held wicks, one of which is still in place.
The spouts are inscribed "Mary" and "One God" in Greek. A triangular opening in
the back of the bird allowed oil to be poured into the lamp. The opening was once
covered by a small bronze lid hinged to the bird's back. The small loops (one is
now missing) at the leading and trailing edges of each wing may have been points
for anchoring the lamp to prevent it from swaying.
The bird is detailed with markings that imitate individual feathers. Its eyes are
indicated by small circles. A ring-like collar is shown around its neck. A loop on
its chest holds a small circle of wire. Pierced ear tufts are shown on either side of
its head-one of which still holds a curl of wire. A small protrusion of metal
allowed for the attachment of the bird's head crest. The upper surface of the beak
is highly curved. Although the lamp was hung by the chain that is attached at
three points of its body, a support behind the feet and a platform that connect the
splayed feet allowed the lamp to stand.
The lamp was excavated from the ruins of a Coptic church near the palace of the
temple of Aye at Medinet Habu (Luxor). This region in southern Egypt was home
to many Coptic monasteries-four were located at Medinet Habu alone-and others
were built in the desert to the west of the ruins of the pharaonic temple.
116
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GLOSSARY Akh An element of the human soul that Cartouche Representation of an oval-
underwent transfiguration to a blessed status shaped loop of rope that encircles a royal
upon rebirth. name, derived from the shen (see below).
It symbolizes that the king ruled all that
Amulet Good luck/protective charm, often the sun enclosed.
in the form of a hieroglyph.
Cataract Outcroppings of rock in the Nile
Ankh Hieroglyph in the form of a cross with
that created rapids which made river travel
a looped top meaning "to live" and "life."
difficult. The six cataracts from near
Apis bull Bull sacred to the god Ptah and Khartoum to Aswan protected Egypt from
later to the god Osiris-Serapis. invasion from the south.
Archaic Period Synonym for Early Cenotaph Symbolic tomb.

Dynastic Period, or Dynasties i and 2. Cippus (pl. cippi) Statue or amulet
Atum Primeval cosmic creator god who was inscribed with religious texts that was
associated with the setting sun. thought to have medicinal power. The most
common form in Egypt is the cippus of
Ba An element of the soul of the deceased
Horus decorated with a figure of the youthful
that was thought to be able to leave the tomb Horus. Cippi are usually inscribed with texts
and to maintain contact with the realm of
that call upon Isis, the mother of Horus, to
the living; shown in the form of a human-
cure afflictions.
headed bird.
Coptic Branch of Christianity prevalent
Barque A boat; often a sacred boat used to in Egypt; from the Greek aiguptios for
transport a statue of a god or the king. "Egypt," also the last stage of the ancient
Book of the Dead Modern name for a Egyptian language, written primarily in
series of New Kingdom and later religious Greek letters.
texts intended to protect the soul of the Demotic Late stage of Egyptian language
deceased as it traveled through the under- and also the cursive script used to write it
world toward rebirth. In ancient Egypt the from about 650 B.c. to the 5 th century A.D.
Book of the Dead was called [The Book of]
"Going Forth By Day." Djed pillar Hieroglyph in the form of a
column with horizontal lines across its upper
Canopic jar Vessel of stone, pottery, or section, thought to represent the backbone of
wood in which mummified organs were the god Osiris. It was the phonogram for
stored in the tomb. Burials were equipped "stability." Amulets and representations of
with four canopic jars, one each for the stom- djed columns are frequently associated with
ach, liver, lungs, and intestines which were mummies and funerary objects.
removed during the mummification process.
"Canopic" refers to the Classical Period god Double crown A composite crown com-
Canopus who was represented in a form that posed of a nested white crown of Upper
resembled a jar for the viscera. Egypt and the red crown of Lower Egypt. It
symbolized the king's rule over all of Egypt.
Cartonnage Papier-miche-like material
made of layers of papyrus, gum, fabric, and Dynasty A series of rulers, often from the
plaster, used to make anthropoid coffins and same line of descent; generally traced from
other fittings for mummies. father to son.
Eye of Horus see wedjat
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GLOSSARY
Faience Quartz paste-based material that Mastaba Mud brick or stone rectangular
was molded and fired. It was used to make tomb superstructure characteristic of Early
statuettes, amulets, and ritual vessels. Often Dynastic royal tombs and private tombs of
bright blue or blue green, it could be glazed the Old and Middle Kingdoms.
in a variety of colors.
Naos A shrine, usually in the sanctuary
False beard Beard attached to the chin of the temple, in which a cult statue of the
with straps. The false beard worn by the king god resided.
was straight and rectangular, while that worn
Natron Desiccating agent (sodium carbon-
by Osiris and other deities, as well as the
ate and bicarbonate) used in the preparation
deceased associated with Osiris, was slender,
of mummies. Large deposits of natron occur
curved, and plaited.
in the Wadi Natrun northwest of Cairo.
False door Architectural feature of tombs
Nemes Blue and yellow-striped fabric head
and temples; representation of a door. In
cover worn by the king.
temples, it functioned as the focus of cult
activities. In a tomb it was the portal through Nilometer Staircase or stone surface
which the soul passed between the tomb marked with calibrations to record the height
chamber and the burial shaft, and it was also of the Nile flood.
the place where food offerings for the
Nome Greek name for administrative dis-
deceased were placed.
tricts of Egypt.
Feast of the Valley Annual festival cele-
Nomen The equivalent of the personal
brated in ancient Luxor in which the sacred
name of the king born by him or her prior to
barques of the gods and the king visited
accession to the throne.
tombs and royal funerary temples on the
west bank of the Nile. Nubia Area between the First and Sixth
Nile cataracts (today's southern Egypt and
God's Father Clerical title which, from
northern Sudan).
the Old Kingdom to the early New Kingdom,
was applied to a relative of the king (who was Osiris Major deity of the afterlife; from
referred to as "god"). By the New Kingdom, the Old Kingdom onward the deceased was
God's Father became a more general priestly associated with Osiris.
title without reference to a relationship to
Ostracon (pl. ostraca) Flake of limestone or
the king.
piece of pottery used for written records or
Hieratic Cursive form of hieroglyphs com- for sketching.
monly used for record-keeping, correspon-
Papyrus Paper-like substance made of
dence, and some religious texts.
overlapped strips of the papyrus stalk.
Ka One of the elements of the soul, repre-
Pharaoh Title for the king of Egypt attested
sented in human form. It was the aspect of
from the New Kingdom onward; from
the soul that needed food and provisions
Egyptian per-aa meaning "great house,"
after death. The symbol of the ka is two
a reference to the residence of the king.
uplifted arms.
Phyle Administrative term for a division of
Karnak Temple Complex of temples at
temple priests.
modern Luxor, dominated by the Temple of
Amun, but also including temples to Mut, Prenomen The coronation name of the
Khonsu, Montu, and Ipet. king. The prenomen is normally compounded
with the name of the sun god Re.
Lower Egypt Northern Egypt, approximate-
ly from the apex of the Delta just south of Pyramid Texts Religious texts incised on
today's Cairo northward to the shore of the the walls of pyramid burial chambers from
Mediterranean. The designation "Lower" Dynasties 5 to 12 intended to protect the spirit
refers to the southward flow of the Nile. of the king in the afterlife.
Haat Truth, justice, righteousness; also the Raised relief Technique of carving on
goddess (Maat) who is the embodiment of stone wherein the background is cut away,
truth and universal order. leaving the scene standing above the back-
ground. Also known as bas relief.
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Scarab A beetle (Scarabaeus sacer); Valley of the Kings Valley on the west
the hieroglyph for "to come into being" bank of Luxor containing tombs of New
or "to exist," hence its use as an amulet of Kingdom kings and a few noblemen.
rejuvenation.
Valley of the Queens Valley on the west
Serdab Statue chamber in an Old Kingdom bank of Luxor containing tombs of New
tomb. Kingdom queens, princes, and nobility.
Shabti (also spelled ushebti, shawabti) Vizier A position in the Egyptian bureaucra-
see Ushebti cy similar to that of a modern prime minis-
ter. The vizier acted as chief advisor, head of
Shen Circular hieroglyph representing a
administration, and supreme judge.
loop of rope, meaning "circuit [of the sun],"
and by extension "eternity." Vulture headdress/crown Headdress in
the form of a bird, the wings of which cover
Sistrum (pl. sistra) Ritual rattle, most com-
each side of the head, with the vulture head
monly associated with the goddess Hathor. at the wearer's forehead. The vulture cap was
Stela (pl. stelae) Surface of stone or wood worn by queens and by goddesses and is also
carved or painted with scenes or texts; often shown on coffins of elite women.
a monument to the dead or the record of a Was scepter A hieroglyph in the form of a
historical event. tall slender staff with a forked bottom and a
Sunk relief Technique of carving on stone recurved top in the form of an animal head
wherein the design is cut into the stone, leav- with tall ears, somewhat like a stylized jackal.
ing the background standing above it. Was means "dominion."
Titulary Series of names and epithets of Wedjat eye (also spelled udjat) A human
the king that praised him and associated him eye and eyebrow combined with the stylized
with deities. markings of a falcon eye, representing the eye
of the falcon-god Horus. The wedjat means to
Upper Egypt Southern and central Egypt "be whole" or "healthy" through the myth that
from Aswan north to the area just south of the eye of Horus was plucked out by the evil
today's Cairo. The designation "Upper" god Seth and was later restored by Thoth. The
refers to the southward flow of the Nile. eye was associated with the moon, the waxing
Uraeus (pl. uraei) Protective ornament in of which was equated with regeneration.
the form of a cobra that appears on the fore-
head of kings, queens, and deities. Texts
relate that the cobra spit protective fire.
Ushebti Mummiform statuette deposited in

tombs from Dynasty 13 onward to act as a
servant for the deceased.
121
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Andrews, Carol. Amulets of Ancient Egypt. London: The British Museum Press, 1994.
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oi.uchicago.edu
1. OBJECTS BY 76 Tweezers no. 31 10814 A Warning to Tomb Robbers no. 1o

371 Game of Twenty Squares no. 20 10815 Lintel of Kha-bau-ptah no. 9
REGISTRATION 1351 Offering to the God no. 37 10825 False Door of Ny-su-redi no. 4
2036 Nen-khefet-ka and his Wife Nefer- 11047 Detail of a Funerary Procession
NUMBER shemes no. 8 no. 2I
2053 Mummy Portrait no. 6o 11171 Brick Stamp no. 39

2091 Canopic Jar no. 34 11375 Composite Deity no. 45
2092 Canopic Jar no. 34 11394 Ritual Vessel (Situla) no. 50
2093 Canopic Jar no. 34 11398 Running Ibexes no. 22
2094 Canopic Jar no. 34 11489 The Royal Herald, Neni no. ii
5116 Funerary Stela of Pa-sher-o-pehty 11495 Model Workshop no. 13
no. 59 12220 Stela of Harsiese no. 43
6739 Stela of the Household of Senbu 13943 Donation Stela no. 44
no. 15
13945 A Letter to the Dead no. 14
7177 Mummy Mask no. 58 13951 The Bad Boy no. 27
7189 Sandal no. 57 14054 The Confectioner, Tchenenet no. 5
7911 Votive Plaque no. 1 14088 Colossal Statue of Tutankhamun
8515 Ear Spoon no. 31 no. 23
9002 Panel from the Tomb of Nefermaat 14089 Floral Column no. 30
and Itet no. 3 14681 Amunirdis I and Diese-heb-sed
9385 Mask from a Funerary Shroud no. 61 no. 40
9787 Book of the Dead no. 51 15554 Head of a King no. 33
9912 Hair Curler no. 31 16672 Decorative Tile no. 29
10101 Thoth Emblem no. 49 16718 Stela of the Hearing Ear no. 36
10502 Razor no. 31 16721 Decorative Tile no. 29
10503 Amun no. 24 16734 Lamp in the Form of a Bird no. 62
10504 Oracular Statue in the Form of a 16875 Water Clock (Clepsydra) no. 55
Falcon no. 48 16879 A Scene of Nature no. 26
10507 Seti I and Ramesses II no. 25 i688o A Scene of Nature no. 26
10510 Nakht and Seth-Antewy no. 16 i6881 Horus on the Crocodiles no. 53
10518 Cult Statue of Queen Arsinoe II 16950 Mehen Game Board no. 2
no. 54
16956 Uha and His Wife Henut-sen no. 12
10569 Stela Dedicated to the God Reshep
17006 Study for a Royal Tomb Painting
no. 28
no. 32
10582 Razor no. 31
17481 Demotic "Marriage" Papyrus no. 46
10584 Statue of Amun no. 42
17973 Relief from the Tomb of
10589 Statue Base of Djed-hor no. 52 Montuemhet no. 41
10590 Singers and Dancers no. 6 17974 Relief from the Tomb of
10607 Statue of a God no. 19 Montuemhet no. 41
io618 Statue of Ny-kau-inpu and Hemet- 17975 Relief from the Tomb of
ra-djet no. 7 Montuemhet no. 41
10628 Statue of a Potter no. 7 18285 Child's Tunic no. 18
10635 Statue of a Woman Mashing Beer 18826 Head from a Cat Coffin no. 47
no. 7 18828 Relief from the Tomb of
o10641 Statue of a Musician no. 7 Montuemhet no. 41
10642 Statue of a Musician no. 7 19517 Relief Fragment no. 56
10729 A Priest of Hathor no. 35 25648 Funerary Figure of Kenamun no. 17
10797 Cartonnage Case and Mummy of
Meresamun no. 38
127
oi.uchicago.edu
2. PROVENANCE I. Votive Plaque 7911 13. Model Workshop 11495

Abydos, grave M69, Egypt Exploration Sedment el Gebel, tomb 2105
OF CATALOGUE Fund, 1902-03 Gift of the British School of
OBJECTS Gift of the Egypt Exploration Fund, Archaeology in Egypt, 1921
1903
2. Mehen Game Board 16950 Purchased in Cairo, 1929
Purchased in Egypt, 1932
3. Panel from the Tomb of Nefermaat Abydos, tomb E312
and Itet 9002 Gift of the Egyptian Research
Medum, mastaba i6 Account, 1902
Gift of the British School of
16. Nakht and Seth-Antewy 10510
Archaeology in Egypt, 1909-10
Purchased in Cairo, 1919
Zaweit Abu Musallam
5.The Confectioner, Tchenenet 14054 Gift of Mr. Eugene Chesrow, 1985
Purchased in London, 1933
18. Child's Tunic 18285
6. Singers and Dancers 10590 Luxor, Deir el Bahari
Giza (?) By exchange with the Metropolitan
Purchased in Cairo, 1920 Museum of Art, 1950
7. "Servant" Statues from the tomb of Ny- 19. Statue of a God 10607
kau-inpu io618, 10628, 10635, 10641, Purchased in Luxor, 1919
10642,
Giza (?), tomb of Ny-kau-inpu
Purchased in Egypt, 1894-95
21. Detail of a Funerary Procession 110o47
8. Nen-khefet-ka and his Wife Nefer-
Luxor, Tomb of Huy (Theban tomb 54)
shemes 2036
Deshasheh, tomb of Nen-khefet-ka
and Nen-khef-ek 22. Running Ibexes 11398
Gift of the Egypt Exploration Fund, Purchased from the Egyptian Museum,
1897 Cairo, 1920
9. Lintel of Kha-bau-ptah 10815 23. Colossal Statue of Tutankhamun 14088

Sakkara, tomb no. 19 (Mariette no. D4 2) Luxor, Medinet Habu
Purchased in Cairo, 1920 Excavated by the Oriental Institute,
1930
o10.
A Warning to Tomb Robbers 10814
Sakkara, tomb N. IV, chapel II 24. Amun 10503
Purchased in Cairo, 1920 Purchased in Cairo, 1919
ii. The Royal Herald, Neni 11489 25. Seti I and Ramesses II 10507
Sedment el Gebel, tomb 613 Abydos (?)
Gift of the British School of Purchased in Cairo, 1919
Archaeology, 1921
26. Two Scenes of Nature 16879, 16880
12. Uha and his Wife Henut-sen 16956 Purchased in Luxor, 1933
Naga ed-Deir (?)
Purchased in Cairo, i935
128
oi.uchicago.edu
27. The Bad Boy 13951 38. Cartonnage Case and Mummy of
Purchased in Luxor, 1931 Meresamun 10797
28. Stela Dedicated to the God Reshep
10569 39. Brick Stamp 11171
Purchased in Cairo, 1920 Purchased in Cairo, 1919
29. Decorative Tiles 40. Amunirdis I and Diese-heb-sed 14681

Luxor, Medinet Habu Luxor, Medinet Habu
16672: Excavated by the Oriental Excavated by the Oriental Institute,
Institute, 1928 1929
16721: Excavated by the Oriental
41. Reliefs from the Tomb of Montuemhet
Institute, 193
17973-75, 18828
30. Floral Column 14089 Luxor, tomb of Montuemhet (Theban
Luxor, Medinet Habu tomb 34)
Excavated by the Oriental Institute, 17973-75: Purchased in Oakland, CA,
1931-32 1948
18828: Purchased in New York, 1952
31. Grooming Implements
76: Purchased in Egypt, 1984-5 42. Statue of Amun 10584
8515: Oxyrhyncus Purchased in Egypt, 1920
Gift of the Egypt Exploration Fund,
43. Stela of Harsiese 12220
1904
Gift of G. F. Maynard and Family, 1925
9912: Purchased in Cairo, 1919
Io5o2: Purchased in Cairo, 1919 44. Donation Stela 13943
10582: Purchased in Cairo, 1920 Purchased in Egypt, 1929
32. Study for a Royal Tomb Painting 17006 45. Composite Deity 11375
Luxor, Deir el Medina (?) Purchased in Cairo, 1920
33. Head of a King 15554 Hawara
Luxor, Medinet Habu Purchased in Cairo, 1932
Excavated by the Oriental Institute
34. Canopic Jars 2091-2094 Purchased in New York, 1952, partial
Luxor, Deir el Bahari gift of Mr. and Mrs. Hans van der
Gift of the Egyptian Research Account, Morwitz
1897
48. Oracular Statue in the Form of a Falcon
35. A Priest of Hathor 10729 10504
Dendera Purchased in Cairo, 1919
49. Thoth Emblem IoiolI
36. Stela of the Hearing Ear 16718 Purchased in Paris, 1919
Luxor, Medinet Habu
Excavated by the Oriental Institute,
1929
37. Offering to the God 1351
Purchased in Paris, 1919, Gift of Martin
Luxor, Ramesseum
Ryerson
Gift of the Egypt Exploration Fund,
1896
129
oi.uchicago.edu
PPOVENANCE OF CATALOGUE OBJECTS
52. Statue Base of Djed-hor 10589 58. Mummy Mask 7177

Athribis Fayum
Purchased in Egypt, 1919 Gift of the Egypt Exploration Fund,
1903
53. Horus on the Crocodiles 16881
Purchased in Egypt, 1933 59. Funerary Stela of Pa-sher-o-pehty 5116
Dendera
54. Cult Statue of Queen Arsinoe Iio5,8 Gift of the Egypt Exploration Fund,
Karnak? 1898
Purchased in Luxor, 1930
55. Water Clock (Clepsydra) T6875 Hawara
Memphis (?) Gift of the Egypt Exploration Fund,
Purchased in Egypt in 1933
1897
56. Relief Fragment 19517
61. Mask from a Funerary Shroud 9385
Gift of Mrs. I. B. Soriano in memory of Deir el Bahari
her mother, Mrs. Chauncey J. Blair, The Egypt Exploration Fund, 1897
1962
Gift of the Art Institute of Chicago, 1917
57. Sandal 7189 62. Lamp in the Form of a Bird 16734
Fayum, grave H 17 Luxor, Medinet Habu
Gift of the Egypt Exploration Fund, Excavated by the Oriental Institute, 1932
1903
130
oi.uchicago.edu
. pp i0R I. Votive Plaque 7911
P UBL1CAT IoN Kaplony, Peter. Otto

Wiesbaden: Die Insckniften der Agyptischen
-arrassowitz, 1963, p. 553.Frtihzeit. Agyptologische Abhandlungen 8. Vol. 1.
o F CATALOGUE Petrie, W. M. Flinders. Abydos Part ii. The Egypt Exploration Fund Memoir 22. London:
o BJ ECTS The Egyptian Exploration Fund, 1903, p.25, frontispiece, pl. 5 (33).
2. Mehen Game Board 16950
Piccione, Peter. "Mehen Mysteries and Resurrection from the Coiled Serpent." Journal of the
American Research Center in Egypt 27 (1990): 46-7, fig.3.
3. Panel from the tomb of Nefermaat and Itet 9002 (selected references)
Harpur, Yvonne. The Tombs of Nefermaat and Rahotep at Maidum: Discovery, Destruction and
Reconstruction. Cheltenham: Oxford Expedition to Egypt,
p1. 27.
2001, pp. 83-84, figs. 84,169,177,
Parkinson, Richard. Cracking Codes: The Rosetta Stone and Decipherment. Berkeley: University of
California Press, 1999, p. 138.
Petrie, W. M. Flinders. Medum. London: D. Nutt, 1892. p. 26. p1. xxiv.

Unpublished
5. The Confectioner, Tchenenet 14054

Silverman, David. "An Old Kingdom Statue in the Oriental Institute Museum. Journal of Near
Eastern Studies 32 (1973): 466-76.
6. Singers and Dancers 10590

Vandier, Jacques. Manuel d'archiotogie Egyptienne. Vol. 4. Bas-reliefs et Peintures: Scenes de la vie
quotidienne. Paris: A. and J. Picard, 1964, p1. 18, fig. 205 (left).
7. "Servant" Statues from the tomb of Ny-kau-inpu

1o618: Unpublished
10635
Breasted, James Henry, Jr. Egyptian Servant Statues. The Bollingen Series 13. New York:
Pantheon Books, 1948, pp. 32-3, pl. 3ib.
Smith, William S. History of Egyptian Sculpture and Painting in the Old Kingdom. Second
Edition. London: Oxford University Press, 1949, p. 97, p1. 28f.
10628 (selected references)
Arnold, Dorothea. When the Pyramids were Built: Egyptian Art of the Old Kingdom. New York:
Metropolitan Museum of Art, 1999, pp. hno-11.
New York: Metropolitan Museum of Art, 1999, pp. 389-90, no. 138 A-B.
Pantheon Books, 1948, pp. 49-50, pl. 4 5 b.
Hope, Colin. Egyptian Pottery. Shire Egyptology 5. Aylesbury: Shire, 1987, cover.
L'art 6gyptien au temps des pyramides. Paris: Reunion des mushes nationaux, '999, p. 335.
no. 164.
131
oi.uchicago.edu
PP1OP PUBLICATION OF CATALOGUE OBJECTS
0641-2 (selected references)

New York: Metropolitan Museum of Art, 1999, p. 39! (01M 10641); p. 392 (OIM 10642).
Pantheon Books, 1948, pp. 86-87, pls. 8ob, Sra-b.
Dasen, V. Dwarfs in Ancient Egypt and Greece. Oxford Monographs on Classical Archaeology.
Oxford: Clarendon Press, 1993, pp. 40, 41, 122, 125, 277, pl. 29.
Lart egyptien au temps des pyramides. Paris: Reunion des mustes nationaux, 1999, p. 339,
no. 167.
Perez, Arroya Rafael. Egipto: La Mdsica en a Era de las Pirdmides. Madrid: Ediciones Centro
de Estudios Egipcios, 2000, pp. 312-14.
Smith, William S. History of Egyptian Sculpture and Painting in the Old Kingdom. Second
edition. London: Oxford University Press, 1949, p. 1ci, pl. 27e.
Vandier, Jacques. Manuel d'archtologie e'gyptienne. Vol. III. Les Grandes Epoques: La Statuaire.
Paris: A. and J.Picard, 1958, pl. XL.
8. Nen-khefet-ka and his Wife Nefer-shemes 2036

Kanawati, N. and A. McFarlane. Deshasha: The Tombs of Inti, Shedu and Others. Reports 5.
Sydney: The Australian Centre for Egyptology, 1993, pl. 61b (bottom, middle).
Petrie, W. M. Flinders. Deshasheh. Egypt Exploration Fund Memoir 15. London: The Egypt
Exploration Fund, 1898, pp. 12-14, pl. XXXI.
Porter, Bertha and Rosalind Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic
Texts, Reliefs and Paintings. Vol. IV: Lower and Middle Egypt (Delta and Cairo to Asyut).
Oxford: Clarendon Press, 1934, p. 123.
Wilson, John. The Burden of Egypt. Chicago: University of Chicago Press, 1951, fig. 7c.
9. Lintel of Kha-bau-ptah 1o815

Porter, Bertha and Rosalind Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic
Texts, Reliefs and Paintings, Vol. 111/2,
Memphis, part 2: Saqqara to Dahshur. Oxford:
Clarendon Press, 1981, p. 454.
10. A Warning to Tomb Robbers 10814

Porter, Bertha and Rosalind Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic
Texts, Reliefs and Paintings, Vol. III/2, Memphis, part 2: Saqqara to Dahshur. Oxford:
Clarendon Press, 1981, p. 677.
11. The Royal Herald, Neni 11489

Petrie, W. M. Flinders and Guy Brunton. Sedment. Vol. i. British School of Archaeology in
Egypt and Egyptian Research Account Publication 34. London: British School of
Archaeology in Egypt, 1924, p. 4, pl. 1, nos. 19-21.
12. Uha and his Wife Henut-sen 16956

Bailey, Susan. "Circumcision and Male Initiation." In Egypt in Africa, edited by Theodore
Celenko. Indianapolis: Indianapolis Museum of Art, 1996, pp. 89-90.
Cherpion, Nadine. "Sentiment Conjugal et Figuration a l'Ancien Empire." In Kunist des Alten
Reiches, edited by Rainer Stadelmanni and Hourig Sourouzian. Mainz: Philipp von Zabern,
1995, p. 35, pl. 6b.
Archaeology in Egypt, 1924, p. 0, pl. XVI, no. 374.
132
oi.uchicago.edu

Gardiner, Alan H. "A New Letter to the Dead." Journal of Egyptian Archaeology i6 (1930): 19-22.

Garstang, John. El Ardbah: A Cemetery of the Middle Kingdom; Survey of the Old Kingdom
Temenos; Graffiti from
the Temple of Sety. Egyptian Research Account Sixth Memoir. London:
School of Archaeology in Egypt/Bernard Quaritch, 1900, pp. 35, 41, 46, pl. XII, lower right.
i6. Nakht and Seth-Antewy 10510

Cartwright, Harry. "The Iconography of Certain Egyptian Divinities as Illustrated by
Collections in the Oriental Institute Museum." American Journal of Semitic Languages and
Literature 45 (April, 1929): 185.
Gardiner, Alan H. Ancient Egyptian Onomastica. Vol. II. Oxford: Oxford University Press, 1947,
PP. 53_'_54_'_, 621'-64_1'.
te Velde, Herman. Seth, God of Confusion. Probleme der Agyptologie 6. Leiden: E. J. Brill, 1977,
p. 68, pl. IV.1.

Oriental Institute News [ Notes. No. 10a. September-October 1985, pp. 8-9.
18. Child's Tunic 18285
Unpublished
19. Statue of a God 10607

Kozioff, Arielle, Betsy Bryan with Lawrence Berman (editors). Egypt's Dazzling Sun: Amenhotep
III and his World. Cleveland: Cleveland Art Museum, 5992, pp. 178-81.
Marfoe, Leon. A Guide to the Oriental Institute Museum. Chicago: The Oriental Institute, [982,
p. 34, fig. 21.
Vandier, Jacques. Manuel d'archeologie Jgyptienne. Vol. III, Les Grandes Epoques: La Statuaire.
Paris: A and J. Picard, 1958, pl. CXXIII.6, p. 384.
Wilson, John. The Burden of Egypt. Chicago: University of Chicago Press, 1951, fig. 7 b.

Marfoe, Leon. A Guide to the Oriental Institute Museum. Chicago: The Oriental Institute, 1982,
p. 31, fig. 19.
21. Detail of a Funerary Procession 11047
Polz, Daniel. Das Grab des Hui und des Kel, Theban Nr. 54. Archaologische Verbffentlichungen
74. Mainz: Philipp von Zabern, '997, pp.35-36, pls. 8, 17.
Silverman, David. "A New Kingdom Funerary Ritual and Procession." Serapis 6 (1980): [25-33.
22. Running Ibexes 11398

Unpublished
23. Colossal Statue of Tutankhamun 14088 (Selected references)

Forbes, Dennis. "Tutankhamen on the Move at Chicago's Oriental Institute Museum." KMT,
vol. 9, no. 3, (Fall 1998): 30-33.
Wilson, Karen and Joan Barghusen. Highlights of the Collection. Chicago: The Oriental Institute,
8
19 9, no. i8.
133
oi.uchicago.edu
PRIOR PUBLICATION OF CATALOGU[ OBJECTS
24. Amun 10503

Peck, William. "A Seated Statue of Amun." Journal of Egyptian Archaeology 57 (1971): 74-5.
25. Seti I and Ramesses II 10507

Habachi, Labib. "La reine Touy, femme de Seth I, et ses proches parents inconnus." Revue
d'tgyptologie 21 (1969): pp. 45-46 [8], p1. 3.
Kitchen, Kenneth. Ramesside Inscriptions. Vol. i. Oxford: Blackwell, 1975, p. 320.
Martin, Geoffrey. Corpus of Reliefs of the New Kingdom from the Memphite Necropolis and Lower
Egypt. Vol i. London: KPL, 1987, pp. 30-31 ]no. 74 ],P1. 27.
Martin, Geoffrey. The Tomb of Tia and Tia: A Royal Monument of the Ramesside Period in the
Memphite Necropolis. Egypt Exploration Fund Memoir 58. London: Egypt Exploration Society,
1997, PP. 47-8, 49 51, 54, pl. 98.
26. Two Scenes of Nature 16879, i688o

Unpublished
27. The Bad Boy 13951 (Selected references)

Breasted, James Henry. The Oriental Institute. Chicago: University of Chicago, 1933, p. 424,
fig. 206.
Brovarski, Edward, Susan Doll, and Rita Freed (editors). Egypt's Golden Age: The Art of Living in
the New Kingdom 1558- o85 B.c. Boston: Museum of Fine Arts, 1982, p. 279, no. 382.
Brunner-Traut, Emma. "Agyptische Tiermirchen."Zeitschrftfirtgyptische Sprache und
Altertumskunde 8o (1955): 24 (no. 25), pl. 2.1.
Altdgyptische Tiergeschichte und Fabel. Darmstadt: Wissenschaftliche
Buchgesellschaft, i968, p. 14, fig. 9 (with boy's phallus erased).
Janssen, Rosalind and jack Janssen. Egyptian Household Animals. Shire Egyptology 12.
Aylesbury: Shire Publications, 1989, p. 61, fig. 51.
Peck, William and John Ross. Egyptian Drawings. New York: Dutton, 1978, p. 78, no. 77.
p. 25, fig. 13.
Wilson, John. The Burden of Egypt. Chicago: University of Chicago, 1951, fig. i6a.
28. Stela Dedicated to the God Reshep 10569 (Selected references)

Fulco, W. J. The CanaaniteGod Retep. American Oriental Series 8. New Haven: American
Oriental Society, 1976, pp. '14-15
Pritchard, James. The Ancient Near East in Pictures Relating to the Old Testament. Princeton:
Princeton University Press, 1969, p. 164, no. 475.
Schulmnan, Alan. "The Winged Reshep." The Journal of the American Research Center in Egypt 16
(1979): 76, no. 11.
Simpson, William. "Reschef," In Lexikon der Agyptologie, edited by Wolfgang Helck, Vol. V.
Wiesbaden: Otto Harrassowitz, 1984, col. 245.
Stadelmann, Rainer. Syriscke-PalastinenischeGottheiten in Agypten. Probleme der Agyptologie 5.
Leiden: E. J. Brill, 1967, P. 70.
Vernus, Pascal. Athri his. Bibliothhque d'Etude 74. Cairo: Institut francais d'archhologie orien-
tale du Caire, 1978, PP. 56-7.
134
oi.uchicago.edu
30. Floral Column 14089

Handbook of the Oriental Institute. Fourth Edition. Chicago: University of Chicago Press, 1935,
fig. 16, p. 20.
Hdlscher, Uvo. Excavation of Medinet Habu. Vol. IV. The Mortuary Temple of Ramses III, Part II.
Oriental Institute Publications 55. Chicago: University of Chicago Press, 1955, PP. 9-10,
pl. 4 (right).
Nelson, Harold and Uvo Hdlscher. Work in Western Thebes 1931-33. Oriental Institute
Communications 18. Chicago: University of Chicago Press, 1934, PP. 95-99, fig. 53 (right).
31. Grooming Implements

10582: Hughes, George. "The Cosmetic Arts in Ancient Egypt." The Journal of the Society of
Cosmetic Chemists io (1959): 174-75, fig. 7.
Other objects unpublished
32. Study for a Royal Tomb Painting 170o06

Van Siclen, Charles. "A Ramesside Ostracon of Queen Isis." Journal of Near Eastern Studies 33
(1974): 150-53-
33. Head of a King 15554
Brewer, Douglas and Emily Teeter. Egypt and the Egyptians. Cambridge: Cambridge University
Press, 1999, p. 173, fig. 11.2.
34. Canopic Jars 2091-2094

Unpublished
35. A Priest of Hathor 10729

Ritner, Robert. "Denderite Temple Hierarchy and the Family of the Theban High Priest
Nebwenenef: Block Statue OIM 10729." In For His Ka: Essays Offered in Memory of Klaus
Baer, edited by David P. Silverman. Studies in Ancient Oriental Civilization 55. Chicago:
The Oriental Institute, 1994, pp. 205-26.
36. Stela of the Hearing Ear 16718

Teeter, Emily. "Hearing Ear Stela." In The American Discovery of Ancient Egypt, edited by Nancy
Thomas, Vol. I. Los Angeles: Los Angeles Museum of Art, 1995, p. 193-
37. Offering to the God 1351 (Selected references)

Lichtheim, Miriam. "Situla No. 11395 and Some Remarks on Egyptian Situlae." Journal of Near
Eastern Studies 6 (1947): 174, pl. VIIA.
Quibell, James. The Ramesseum. Egypt Exploration Fund Memoir 2. London: The Egyptian
Exploration Fund, 1896, pp. II, 17, pl. XX. 4 .
Teeter, Emily. "Popular Worship in Ancient Egypt." KMT (Summer, 1993), cover.
Wilson, Karen and Joan Barghusen. Highlightsfrom the Collection. Chicago: The Oriental
Institute, 1989, no. 2.
38. Cartonnage Case and Mummy of Meresamun 10797

Teeter, Emily. "The Mummy and Coffin of Meresamun." Featured Object Number 9.
Published on the Oriental Institute Home Page (electronic publication), 1996.
39. Brick Stamp iiI71

Unpublished
40. Amunirdis I and Diese-heb-sed 14681

Teeter, Emily. "Diese-hebsed, A hst hnw n Imn at Medinet Habu," Varia Aegyptiaca 10, nos. 2- 3
(August-December 1995): 195-203 •
41. Reliefs from the Tomb of Montuemhet 17973-5, 18828 (selected references)
Bothmer, Bernard (editor). Egyptian Sculpture of the Late Period. Brooklyn: The Brooklyn
Museum, 1960, pp. 17-i8 (no. i5), pl. 14, fig. 33.
135
oi.uchicago.edu
PRIOR PUBLICATION OF CATALOGUE OBJECTS
Der Manuelian, Peter. "An Essay in Reconstruction: Two Registers from the Tomb of
Mentuemhat at Thebes (no. 34)." Mitteilungen des Deutschen Archaologischen Instituts,
Abteilung Kairo 39 (1983): 131-50.
Kantor, Helene. "A Fragment of Relief from the Tomb of Montuemhet at Thebes (No. 34)."
Journal of Near Eastern Studies 19 (1960): 213-16.
Russmann, Edna. "Relief Decoration in the Tomb of Mentuemhat (TT34)." Journal of the
American Research Center in Egypt 31 (1994): 13, no. 72.
42. Statue of Amun 10584

De Meulenaere, Herman. "La famille du roi Amasis." Journal of Egyptian Archaeology 54 (1968):
186-87, pl. XXIX 2- .
3
43. Stela of Harsiese 12220 (Selected references)

Allen, Thomas George. The Egyptian Book of the Dead: Documents in the Oriental Institute
Museum at the University of Chicago. Oriental Institute Publications 82. Chicago: University
of Chicago Press, 196o, pp. 12, 13,60o,,80, pl. CIII.
Brewer, Douglas and Emily Teeter. Egypt and the Egyptians. Cambridge: Cambridge University
Press, 1999, cover.
Munro, Peter. Die spatagyptischen Totenstelen. Agyptologische Forschungen 25. Gltickstadt:
J. J. Augustin, 1973, P. 196.
44. Donation Stela 13943
Leahy, Anthony. "Two Donation Stelae of Necho II." Revue d' Egyptologie 34 (1982-3): 84-91-
Meeks, Dimitri. "Les donations aux temples dans l'tgypte du ler millenaire avant J.-C."
In State and Temple Economy in the Ancient Near East, edited by Edward Lipinski. Orientalia
Lovaniensia Analecta 5-6. Leuven: Department Orihntalistiek, 1979, p. 676 (26.2.11).
Morschauser, Scott. Threat Formulae in Ancient Egypt. Baltimore: Halgo, 1991, p. 1o.
45. Composite Deity 11375

Cartwright, Harry. "The Iconography of Certain Egyptian Divinities as Illustrated by
Collections in the Oriental Institute Museum." American Journal of Semitic Languages and
Literature45 (April, 1929): 196, fig. 28.
Teeter, Emily."Animals in Egyptian Religion." In A History of the Animal World in the Ancient
12.7-
Near East, edited by Billie Jean Collins. Leiden: Brill, 2002, p. 354, fig.

Jasnow, Richard. Oriental Institute Hawara Papyri: Demotic and Greek Texts from an Egyptian
Family Archive in the Fayum (Fourth to Third CenturiesB.c.). Oriental Institute Publications
113. Chicago: The Oriental Institute, 1997, pp. 3-4, 7, 9-15, pls. 1-7 .
Nims, Charles. "A Demotic 'Document of Endowment' from the Time of Nectanebo I."
Mitteilungen des Deutschen Archtiologischen Instituts, Abteilung Kairo 16 (1958): 237-46.

Unpublished
48. Oracular Statue in the Form of a Falcon 10504 (Selected references)

Bothmer, Bernard. "The Nodding Falcon of the Guennol Collection at the Brooklyn Museum."
The Brooklyn Museum Annual IX ('967-1968): 75-76.
p. 23, fig. II.
Wilson, Karen and Joan Barghusen. Highlightsfrom the Collection. Chicago: The Oriental
Institute, 1989, no. 14.
49 .Thoth Emblem ioror

Unpublished
Unpublished

Allen, Thomas George. Book of the Dead: Documents in the Oriental Institute Museum at the
University of Chicago. Oriental Institute Publications 82. Chicago: University of Chicago
Press, 1960, pp. o10,16-39,202-03, pls. 34-35 (pls. 13-50o for entire papyrus).
136
oi.uchicago.edu
52. Statue Base of Djed-hor 10589

Sherman, Elizabeth. "Djedbor the Saviour Statue Base
Archaeology 67 (1981): 82-102, pis. XIII-XIV.
01 10589." Journal of Egyptian
Vernus, Pascal. Athrihis. Bihliothe'que d'Etude 74. Cairo: Institut francais d'archtologie orien-
tale du Caire, 1978, p. 196, doc. 162.
Young, Eric. "A Possible Consanguinous Marriage in the Time of Philip Arrhidaeus."
Journal oj the American Research Center in Egypt 4 (1965): 69-71.
53. Horus on the Crocodiles 16881 (Selected references)

Seele, Keith. "Oriental Institute Museum Notes: Horus on the Crocodiles." Journal of Near
Eastern Studies 6 (1947): 43-52.
Sternberg-El Hotabi, Heike. Untersuchungen zur Uherlieferungsgeschichteder Iorrusstelen. Vol. I.
Agyptologische Abhandlungen 62. Wiesbaden: Otto Harrassowitz, 1 pp. 107, 110, fig. 56.
Teeter, Emily. "Animals in Egyptian Religion." In A History of the Animal World in the Ancient
Near East, edited by Billie Jean Collins. Leiden: Brill, 2002, p. 353, fig. £2.6.
54. Cult Statue of Queen Arsinoe II ior8 (Selected references)

Fraser, P. M. "Inscriptions from Ptolemaic Egypt." Berytus £3 fo. 2 (1959-60): 133-4, p1. XXIX
2 a-h.
Fraser, P. M. Ptolemaic Alexandria. Vol. i. Oxford: The Clarendon Press, 1972, p. 70, ro. 234.
Quaegeheur, Jan. "Documents hgyptiens anciens et nouveaux relatifs a Arsinoe Philadelphe."
In Le cult du souverain dans l'tgypte ptolemaique au ile sicle avant notre ere, edited by H.
Melaerts. Louvain: Peeters, 998, p. 89, no. 3.
Quaegebeur, Jan. "Ptolhmee II en adoration devant Arsinoe
franfais d'archiologieorientale 69 (1971): 210, no. 5.
11 divinishe." Bulletin de l'Institut
Stanwick, Paul. Portraitsof the Ptolemies: Greek Kings as Egyptian Pharaohs.Austin: University
of Texas Press, 2002, pp. 25, 38, 39, 56, 68, 100-01.
55. Water Clock (Clepsydra) 6875

Quaegebeur, Jan. "Documents Concerning a Cult of Arsinoe Philadelphos at Memphis."
Journal of Near Eastern Studies 30 (1971): 259-62, 270, pls. 2-3.
56. Relief Fragment 19517
Oriental Institute Annual Report 1961-62, Chicago: The Oriental Institute, pp. 23-4.
57. Sandal7189
Unpublished
58. Mummy Mask 7177

Unpublished
59. Funerary Stela of Pa-sher-o-pehty 5116

Petrie, W. M. Flinders. Dendereh 1898. Seventeenth Memoir. London: The Egypt Exploration
Fund, 1900, p. ss, no. XVI.

UTnpublihed
137
oi.uchicago.edu
4. CHRONOLOGY PREDYNASTIC PERIOD CA. 5000 B.C.-3100 B.C.
All dates before 664 B.C. are EARLY DYNASTIC PERIOD DYNASTIES 1-2 CA. 3100-2707 B.C.
approximate. When dynasties
Dynasty i 3100-2853 B.C.
overlap, each controlled a
different part of Egypt. When Dynasty 2 2853-2707 B.C.
rulers overlap within a
dynasty, two kings shared OLD KINGDOM DYNASTIES 3-6 CA. 2707-2219 B.C.
power. Only selected kings
are listed for each dynasty. Dynasty 3 2707-2639 B.C.
This chronology is based, in
part, upon Julrgen von
Huni 2663-2639 B.C.
Beckerath's Chronologie des Dynasty 4 2639-2504 B.C.
pharaonischenAgyptern.
Snefru 2639-2604 B.C.
Khufu (Cheops) 2604-2581 B.C.
Khafre (Chephren) 2572-2546 B.C.
Menkaure (Mycerinus) 2539-2511 B.C.
Dynasty 5 2504-2347 B.C.

Userkaf 2504-2496 B.C.
Sahure 2496-2483 B.C.
Neferirkare 2483-2463 B.C.
Niuserre 2445-2414 B.C.

Menkauhor 2414-2405 B.C.
Unas 2367-2347 B.C.
Dynasty 6 2347-2216 B.C.
Teti 2347-2337 B.C.

Pepi I 2335-2285 B.C.
Pepi II 2279-2219 B.C.
FIRST INTERMEDIATE PERIOD DYNASTIES 7-11 CA. 2219-1995 B.C.
Dynasty 7 2219-2219? B.C.
Dynasty 8 2216-2I07 B.C.
Dynasties 9-10 2170-2025 B.C.
Dynasty ii 2119-1976 B.C.

M entuhotep I I 2046-1995 B.C.
138
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MIDDLE KINGDOM DYNASTIES 11-13 CA. 1995-1648 B.C.
MIDDLE KINGDOM DYNASTIES 11-13 CA. 1995-1648 B.C.

Dynasty 12 1976-1794 B.C.
Dynasty 13 1794-1648 B.C.
SECOND INTEPHEDIATE PERIOD DYNASTIES 14-17 CA. 1720-1550 B.C.
Dynasty 14 1720?-1648 B.C.
Dynasty 15 1648-1539 B.C.
Dynasty 16 1648-1539 B. C.
Dynasty 17 1645-1550 B.C.
NEw KINGDOM DYNASTIES 18-20 CA. 1550-1070 B.C.
Dynasty 18 1550-1292 B.C.
Amunhotep I 1526-1505 B.C.
Thutmose I 1505--1492 B.C.
Thutmose II 1492-1479 B.C.
Thutmose III 1479-1425 B.C.
Hatshepsut 1473-1458 B.C.
Amunhotep II 1428-1400 B.C.
Thutmose IV 1400-1390 B.C.
Amnunhotep III 1390-1353 B.C.
Amunhotep IV-Akhenaten 1352-133 6 B.C.
Smenkhkare 133 6-1334 B.C.
Tutankhamun 1334-1325 B.C.
Aye 1325-1321 B.C.
Horembab 1321-1292 B.C.
Dynasty 19 1292-1856 B.C.
Ramesses I 1293-1291 B.C.
Seti I 1291-1279 B.C.
Ramesses II 1279-1212 B. C.
Merenptah 1212-1202 B.C.
Dynasty 20 1186-1070 B.C.
Ramesses III 1182-1151 B.C.
Ramesses VI 1142-1-134 B.C.
139
B.C
oi.uchicago.edu
CHRONOLOGY
THIRD INTERMEDIATE PERIOD DYNASTIES 21-25 CA. 1070-664 B.C.
Dynasty 21 1070-946 b.c.

Dynasty 22 94 6-735 B.C.
Shoshenq II 877-875 B.C.

Dynasty 23 756-714 B.C.
Dynasty 24 740-714 B.C.
Dynasty 25 (Nubian) 746-664 B.C.

Piye (Piankhy) 746-715 B.C.
LATE PERIOD DYNASTIES 26-31 664-332 B.C.
Dynasty 26 664-525 B.C.
Psamtik I 664-610 B.C
Necho II 610-595 B.C.
Psamtik II 595-589 B.C.
Apries 589-570 B.C.

Amasis 570-526
305-30 B.C.
Psamtik II 526-525
305284B.C
B.C.
Dynasty 27 (First Persian Period) 525-401 B.C.
Dynasty 28 404-399 B.C.

Dynasty 29 399-380 B.C.
Dynasty 30 380-342 B.C.

28-46BC
Nectanebo I 380-362 B.C.
Nectanebo II 360-343
513 BC B.C.
Dynasty 31 (Second Persian Period) 342-332 B.C.

30BC-37AD
Darius III 335-332 B.C.
MACEDONIAN KINGS 332-305 B.C.

4T-T CETPESAD
Alexander the Great 332-323 B.C.
Philip Arrhidaeus 323-317 B.C.
140
oi.uchicago.edu
5. MAP
.................. Tell Basta (Bubastis)

Kom el His' (lmu) LOWER EGYPT
Abu Rawash.....
Abu Ghurob.."""""....
Abusir a%.. Memphis
Sakkara """".0 .. Dahshur
FAYUM *. Medum
.... SINAI PENINSULA
Deshasheh"".. Sedment el Gebel
-J
aQaw el Kebir RED SEA

UPPER EGYPT
Abds Naga el Der

Dendera
...... Quseir
Deir el Bahari '
Ramesseum (Thbe)
Medinet Habu
Kom Ombo
Aswan
oi.uchicago.edu
oi.uchicago.edu
GENERAL Abu Ghurob 43, 141 Canopus 70, 141 God's Wife 79, 84, io6
INDEX
Abu Kir 70, 141 Cartonnage y5, 76, III, 114 Gourna 44, 141
Aim Sir 86, 141 Cartouche 24, 52, 54, 55, 57, Grasshopper 58
Abydos I, i2, 38, 44,9 6, 128, 61, 84, 87
Cat 59, 92
Grimshaw, J. and M. 6
'4' Grooming 64
Aigyptioi 114 Cattle 44, 46, 50, 72 Hapi 69, 70, 76
Amarna 2, 51, 52, 55, 141 Chicago House method, 3 Harp 24
Ammet 98 Cippus 103, 104, 119 Harper, Robert Francis I, 3
Amun 54, 55, 75, 76, 77, 79, Circumcision 34 Harper, William Rainey I, 2
8o, 83, 84, io6, 120
Cow 36, 58 Haskell Oriental Museum 2,
Amun-Re 55, 74, 84, 89, joG Crocodile 58, 89, 98, 103, figs. 1-3
Ancient Times 3 104 Hathor 20, 28, 34, 54, 72, 78,
Antewy 41 CT scan 77 107, III, 121
Anubis 16, 30, 34, 70, 89, Cyprus 48 Hearing ear 73
92, 98, 112 Dahshur 14, 141 Hedj-wer II
Apis 69, 76 Dancers 20 Heen12
Apophis 42, 89 128'130,141
Deir el Bahari He of the Two Faces 42, 89
Appeal to the Living 34 Delougaz, Pinhas 6 Herakleopolis 35
Art Institute of Chicago 5 Demotic 90, 91, 112, 114 History of Egypt 3
Astragali 48 Dendera 72, 94, 112, 129, Hblscher, Uvo 5
Aswan i8, 121, 141 130, 141 Horus 41, 54, 76, 87, 89, 92,
Athribis 6o, 101, 102, 130, Deshasheh 26, 128, 141 94, 96, 98, 103, 104, 119,
141 121
Duamutef 69, 70, 76
Atum 77, 85, 86 Dwarf 24 Horus of Khnety-Khety Go,
101
Ba-neb-djed
anoi as69 76 61 Edfu 42. 141
Bastet 92 Ibex 51
Edgerton, William F. 4
Bed 112 lmsety 69, 70, 76
Egypt Exploration
Behdeti 42, 74,85, 86, 87 Imu (Kom elHisn) 78, 141
Fund/Society 4
Isis 70, 72, 86, 104, 112
Bes 104 Egyptian Research Account 4
Bismaya 3 Epigraphic Survey 3, 5 Isis knot 76
Iwennttef priest 56
Boar, wild 58 Erman, Adolph 2
Book of the Dead 86, 98, 119 Ethnicity Go, 105, 1o6, 113,
Kantir 61
Breasted, Frances Hart 2 114, 119 Kantor, Helene 6
Breasted, James Henry xi, Falcon 92, 94, 98, 101, 102 Karanis 94, 141
1-5, 26, fig. 2 False Door 16, 28, 120 Karnak 54, 79, 120, 130
Brewing 23 Fayum 113, 130, 141 Kemp, Barry 12

Brunton, Guy 35 Feast of the Valley 54, 120 Khafajah 5
Bubastis (Tell Basta) 97, 141 Fish 58, 8o, 81 Kh.ever (dancers) 20
Bull, Ludlow 4 Games 13, 48 Khenti-amenti 12
Busiris 86, 87, 141 Gazelle 34, 8, Go, 67 Khnum 76
io6,
Cairo Museum 3, 14, 26,
62, 101, 104, 107, 128
52, General Education Fund 4
Giza 18, 69, 128,41
Khonsu 74, 98,
Khorsabad c 107, 120
143
oi.uchicago.edu
GENERAL INDEX
Ksom el Wist 94 Nubia 3, 6, 51, 79, 120 Sedment el Gebel 30, 35, 128,
Ksom Ombo 94, 141 Oriental Institute 4-6, 55 '4'
Letter to Dead 36 figs. 4.,5 Sekhmet 46, 92, 107, 1o8
Lichtheim, Miriam 6 Osiris 38, 42, 57, 72, 74,

12, Senet (game) 48
76,77 86, 96, 98, III, 112, Serdab 26, 30, 35
Linen 13, 35, 36, 44, 74, 75, 119, 120
79, 92, III, 115 Seth 41, 42, 121
Palestine 48
Luckinbill, D. D. 4 Shelton, A. W. 4
Pa-en-na-mesw 87
Luxor (see also Thebes) 70, Shoe 79, 110
76, 8o,128, 129, 130,141 Pe 5o
Situla 50, 74, 96
Maat 86, 98, 120 Perfume cone 74, 85
Swift, Gustavus 6
Mariette, Auguste 28 Persepolis 5
Syria 48
Medinet Habu 5,52, 61, 67, Persian(s) 84, 102
Tatenen 46
68, 79ii6, 128, 129, 130, Petrie, W. M. linders 12,
141 26, 35 Tell Basta (Bubastis) 92, 141
Medum 14, 128, 141 Ptah 69, io6, 107
Tell el Amarna (see Amarna)
Megeb 42 Ptah-Sokar-Osiris 77, 89 Thebes (see also Luxor) 44,
46, 50, 72, 74, 76, 77, 8o,
Megiddo 5 Pyramid Texts 96, 120 84, 96, 141
Mehen (deify) 13, 89 Qaw el Kebir 42, 141 Thoth r6, 86, 92, 95, 98,
Mehen (place name) 12 Qebehsenuef 69, 70, 76 104, 107, 112, 121, io6
Memphis 130, 141 Quseir 6, 141 Tjebu (Qaw el Kebir) 42, 141
Mensk 12 Razor 64, 65 Ur 48
Meyer, Eduard 2 Re 28, 54, 76, 86 Valley of the Queens 67
Montu 85, 86, 96, 120 Re-Horakhty 7, 7,85,86, Vulture 89, 109
Mouse 59 94,1 8 Vulture crown/headdress 76,
Mummy 69, 70, 92, 102, III, Reshep Go 79, 109, 121
113, 114, 115, 119 Rockefeller, John
D., Jr. 1, 5 Walker Museum 2
Mut 42, 54, io6, 120 Rockefeller, John D., Sr. Waterclock 95, 107, 1o8
Naville, E. 70 Rockefeller, Mrs. John D., Jr. Wennefer 77
Nekhbet 109 3 Wepwawet 39, 76
Nelson, Harold 5 Sakkara 29, 78, 92, 128, 141 Yale University 1, 2
Nephthys 112 Satire on the Trades 25 Zaweit Abu Musallam 128
Nergal 6o Scribe 16, 41, 44, 57, 72, 79,
91
Nofertum 104
144
oi.uchicago.edu
Pen-maa 96
ANCIENT Alabanthis 114 Kha-bau-ptah 28
Amunemliet 107 Kherem-hor 86, 87 Peset 90

EGYPTIAN Amun-wahsu 56, 57 Meketre 36 Pet-osiris 33
PERSONAL Ankh-ef-en-khonsu 36 Menna S1 Ramose 44
NAMES Ankh-er-fened 14 Merer 6o Rekhmire 50
Ankh-er-sheret-ef 14 Meres-amun 75, 76, 77 Ren-ef resu 39
Ankh-nes-nefer-ib-re 84 Montuembat 79, 8o, 81 Ren-ef-seneb 39
Ankhresyet 14 Mut-hotep 86 Ren-es-res 39
Basa 71, 72 Nakht 41 Ren-es-seneb 39
Biw 29 Nakhti 39 Sa-ankhi 39
Dedi 39 Neb-kau-hor 20 Satamun 67
Dedu-inher 39 Nebtawy 67 Sat-Inher 39
Diese-heb-sed 79 Nebwennef 72 Sat-sobek 39
Djed-hor 101, 102, 104 Nefermaat 14, 61 Senbu 39
Djed-khonsu-iw-es-ankh 74 Nefer-shemes 26 Senenmut 44
Djed-thoth-iu-ef-ankh 86, 87 Nefert-chent 37 Seny 37
Esereshti 98 Nefu-en-senebu 39 Sep-en-hor 98
Harsiese 85, 86 Neni 30 Ser-Dhuty 74
Hat-nofer 44 Nen-khefet-ka 26 Seref-ka 14
Hemet-ra-djet 23 Nes-ptah 79 Shepses-ka 14

Hemiunu 14 Nesy-hor 96 Sul Go
Henut-sen 33, 34 Netcherti 12 Ta-baket-en-ese 96
Hepet-ni 39 Neysu-shu-tefnut 98 Ta-khy 112
Huy 50 Ny-kau-inpu 21, 23, 24 Tchenenet i8
Idu 37 Ny-su-redi i6 Tia 56,.57
Isis 67 Padi-Amun-nefer-hetep 96 Tiyi 67
Itet 14 Padihor 87 Uha 33, 34
Itjai 37 Pa-di-neshmet 86, 87 Wehem-ka 14
Ka-khenet 14 Pa-khy 112
Kenamun 43 Pa-sher-o-pehty 112
145
oi.uchicago.edu
ANCIENT Akhenaten 51, 139 Menkaure 69, 138 Ramesses VI 66, 67, 139
Alexander the Great 102, Men-Maat-Re 57 Sahure 28, 138
EGYPTIAN 105, 140 Meresankh III69 Satamun 67
ROYAL NAMES Amasis 84, 140 Neb-tawu 67 Setep-en-re-mery-amun
Amunhotep 1107, 13 9
Necho 11 86, 87, 140 (Ptolemy I) 1o6, 140
Amunhotep II 43, 6o, 139 Nectanebo 1 90, 91, 140 Seti 156, 57, 139
Amunhotep III 46, 50, 67, Neferirkare 28, 138 Seti-mery-en-ptah 57

107, 139
Nitocris II 84 Shoshenq 11 70, 140
Amunirdis 179 Niuserre 28, 138 Snefru 14, 138
Arsinoe Il 94, 105, 1o6, io8
Pepi 1I 29, 138 Taharka 79
Aye 52, 54, 55, '39TI6,
Tiyi 67
Philip Arrhidaeus 101, 140
Djser-kheperu-re-setep-en-re Thutmose IV 50, 78, 139
Psamtik II184, 140
54
Ptolemy I io6, 140 Tutankhamun 52, 54, 55, 70,
Hatshepsut 70, 139
Ptolemy II 105, 107, 140
'39
Horemheb 52, 54, 139
Huni 14, 138 Ramesses 1156, 57, 6i, 67,
Userkaf 78, 138
User-ka-re-mery-amun io 6
72, 74, 139
Isis 67
Ramesses 1II 5, 52, 61, 62, Wehemibre 87
Kheper-kheperu-re-ir-Maat 67, 139
55
146

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oi.uchicago.

THE ORIENTAL INSTITUTE

Internet publication of this volume was made possible with the

This book is for Joe

02003 by The Oriental Institute of the University of Chicago.

Oriental Institute Museum Publications no. 23

Published by The Oriental Institute of The University of Chicago.

Edited by Emily Napolitano and Thomas Urban

Cover: Nen-Khefet-Ka and Nefer-shemes (no. 8)

THIS PUBLICATION WAS MADE POSSIBLE

A History of the Egyptian Collection I

SELECTIONS FROM THE COLLECTION

First Intermediate Period and Middle Kingdom (ca. 2219-1550 B.C.)

12. Uha and His Wife Henut-sen 33

New Kingdom and Third Intermediate Period (ca. 1550-664 B.C.)

27. The Bad Boy 59

The Late Period (664-332 B.c.)

Ptolemaic, Roman, and Byzantine Periods (4 th century B.c.-8th century A.D.)

58. Mummy Mask III

6o. Mummy Portrait 113

Bibliography of Works Consulted 122

PREFACE TH I S B O OK P R E S E NT S ancient Egyptian artifacts from the collection of the

ems,,,.-..... ._. _ '' ... - .w.; ,h 4 g;r ,t ,,,", ''

ALTHOUGH THE ORIENTAL I N S T I T UTE has long been recognized to be

FIGURE 1. THE COLLECTION OF MORE THAN 25,ooo ancient Egyptian artifacts

Breasted in his office at Haskell Hall.

In I9I9 ,Breasted applied to the Rockefeller-supported General Education Fund

View of the Oriental Institute Egyptian

6. Papers of W. R. Harper, (box 38, folder 1:3), Department of Special Collections,

8. J. H. Breasted, The Oriental Institute. Chicago: University of Chicago Press, 1933, p. 3-

THE CLASSIC REPRESENTATION of the human form developed very early in

Only a tentative translation of the brief inscription can be suggested. Alternate

The representation of the doorway opening is surrounded by a lintel and jambs

It is unclear if the fragmentary inscription above the women should be restored as

Statues from the tomb of Ny-kau-

NY-KAU-INPU AND HIS WIFE,

WOMAN MASHING BEER H E R E A WOMAN, identified as a daughter of Ny-kau-inpu, pushes a round

On this lintel, Kha-bau-ptah sits on a stool whose bovine-shaped legs rest on

FUNERARY STELAE WERE ERECTED in private tomb chapels to commemo-

FIRST INTERMEDIATE PERIOD AND MIDDLE KINGDOM

STE LAE LIKE TH IS ONE were erected by individuals, or by entire households,

(C0a B.Ca ag0-6

THIS FUNERARY STATUETTE inscribed for Kenamun is from a cache of

THIS SCULPTURE DEPICTS a male figure seated on a blocky throne. He

THE BAD BOY

STELA DEDICATED TO THE GOD

THE SKETCH ON THIS LAR GE flake of smooth limestone shows a woman

ALTHOUGH THE MA JORITY of examples of Egyptian sculpture exhibited in

viscera can be documented earlier in Dynasty 4 by niches in tombs that corre-

For translation, see Ritner 1994, pp. 209-22, in Appendix 3.

(8 x 5.7 x 2.1 cm)

THIS CARTONNAGE MUMMY CASE, which still contains a mummy, is

sentation of layers of wide floral necklaces-symbols of regeneration. Below, to

The partially preserved scene on fragment OIM 18828 is an animated depiction of

The document is made of twelve joined sheets of overlapped strips of papyrus

{ .. 'ti. iy T''tt' i d J i f v r s -. ....

(ar pETR S..- T R

For translation, see Sherman 1981, pp. 90-1, in Appendix 3.

THIS HEAVILY DECORATED statue-stela was thought to magically cure, or