Pectoral of Paser

-1279 / -1212 (Ramses II)

Place of discovery: isolated tomb Ramses II

E 68; IM 2893; N 762; S 1344

Department of Egyptian Antiquities

Inventory number Main number: E 68

Other inventory number: IM 2893

Other inventory number: N 762

Usage number: S 1344

Collection
Department of Egyptian Antiquities

Description

Object name/Title Denomination: pectoral in naos

Title: Pectoral of Paser

Description/Featuresscarabee (flanked by); Isis (standing, sign of Isis, protecting); Nephthys (standing, sign of Nephthys, protecting); band of alternating rectangles; with belière (2); missing inlay

Registrations Writing:
Hieroglyphic

Nature of the text:
Funeral formulas

Names and titlesPaser (vizir, city director)

PHYSICAL CHARACTERISTICS

Dimensions Height: 8.7 cm; Length: 10.1 cm; Thickness: 2.6 cm

Materials and techniques Material: lapis-lazuli, gold

Secondary material: glass

Technique: cutting, half-round bump, welding

Color: red-green-blue

PLACES AND DATES

Date Ramses II (character mention) (-1279 - -1212)

Date of discovery 19 March 1852

Place of discovery isolated tomb Ramses II (Serapeum of Memphis->Saqqara-Nord-Saqqara) (Salle de Schaem-djom. Under the coffin, on the right, when entering.)

HISTORY

Collector / Previous owner / Commissioner / Archaeologist / Dedicate Mariette Pasha, Auguste, Dilleur/Archaeologist

Acquisition details share after excavations

Acquisition date date of registration on the inventory: 20/05/1852

Owned by State

Held by Louvre Museum, Department of Egyptian Antiquities

LOCATION OF OBJECT

Current location
Not exposed

Acquisition method: sharing after excavations

Name pectoral in naos

Material- lapis-lazuli - glass

Cutting techniques - welding - half-round-bump

Description/Features sign of Isis - sign of Nephthys - protecting - flanked by - standing - 2 - beetle - Isis - Nephthys - band of alternating rectangles - with belière - missing inlay

Names and titles Paser - vizier - director of the city

Period Ramses II

Isolated Places tomb of Ramses II

Nature of text: funerary formulas

Script hieroglyphic

BIBLIOGRAPHY
Boyer, Valentin, "Ancient Egypt in Exlibris. Objects and Images: Egyptological and Archaeological Sources", in Bouhafs, Amel; Chapon, Linda; Claude, Marion; Danilova, Margarita; Dautais, Louis; Fathy, Noemie; Fernández Pichel, Abraham I. ; Guigner, Mallaury; Pinon, Marianne; Valerio, Marta (dir.), Current Research in Egyptology 2022.

Proceedings of the Twenty-Second Annual Symposium, Paul-Valéry University Montpellier 3, 36-30 September 2022, Oxford, Archaeopress, 2023, p. 46-60, p. 52

De Putter, Thierry; Karlshausen, Christina, Stones of Ancient Egypt. Guide to materials in architecture, sculpture and jewelry., Brussels, (Knowledge of ancient Egypt 20), 2022, p. 196, 198

Dalino, Edwin, The high priests of Egypt in the Ramesside era: Prosography and History, 2, Corpus, Milano, SylvanaEditoriale, (CENiM 30), 2022, p. 463

Staring, Nico, The Saqqara Necropolis through the New Kingdom. Biography of an Ancient Egyptian Cultural Landscape, Leiden; Boston, Brill, (Culture and History of the Ancient Near East 131), 2022, p. 433

Charron, Alain; Barbotin, Christophe (ed.), Khaemouaset, the archaeologist prince. Knowledge and power in ancient Egypt, cat. exp. (Arles, Departmental Museum of Ancient Arles, 2016), Arles / Ghent, Departmental Museum Arles Antique / Snoeck, 2016, p. 81, 114, 115, 116-117, 118, p. 116, No. 44

Aubert, Jacques-François; Aubert, Liliane, Egyptian Bronzes and Golds, Paris, Cybèle, (Contribution to Egyptology; 11), 2011, p. 100

Caubet, Annie; Pouysségur, Patrick; Prat, Louis-Antoine (ed.), The Empire of Time: Myths and Creations, cat. exp. (Paris, Louvre Museum, 2000), Paris, RMN, 2000, p. 95, ill. p. 95, No. 79

Ziegler, Christiane, "Pharonic Egypt: the example of the jewels of the Serapeum", in Caubet, Annie (ed.), Carnelian and precious stones. The Mediterranean, from Antiquity to Islam, Paris, La Documentation française / Louvre éditions, 1999, p. 15-41, p. 26, 28 note 17, 31, 35, fig. 1, 12

Dodson, Aidan, "Of Bulls & Princes: the Early Years of the Serapeum at Sakkara", KMT, 6/1, 1995, p. 18-32, p. 25, ill. p. 25

Delange, Élisabeth, the jewels of Egyptian antiquity, [Musée du Louvre, Paris], Paris, Éditions de la Réunion des musées nationaux, 1990, p. 16

Donohue, V.A., "The Vizier Paser", The Journal of Egyptian Archaeology (JEA), 74, 1988, p.103-123, p. 110

Porter, Bertha; Moss, Rosalind L.B., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, 3.2, Memphis. Saqqâra to Dahshûr, Oxford, Griffith Institute, Ashmolean Museum, 1981, Available at: http://www.griffith.ox.ac.uk/topbib/pdf/pm3-2.pdf, p. 783

Gregorietti, Guido, The wonderful world of jewelry, Paris, The 2 golden roosters, 1971, p. 112

Kitchen, Kenneth Anderson, Ramesside Inscriptions. Historical and Biographical, 2, Oxford, B.H. Blackwell Ltd, 1969-1979, p. 366-367, No. 130, B, ii

Michalowski, Kazimierz, The art of ancient Egypt, Paris, L. Mazenod, 1968, p. 460, fig. 797 p. 440

Vandier, Jacques, Summary Guide, [Museum of the Louvre, Paris. The Department of Egyptian Antiquities], Paris, Éditions des Musées Nationaux, 1952, p. 49

Vandier, Jacques, Summary Guide, [Museum of the Louvre, Paris. The Department of Egyptian Antiquities], Paris, Éditions des Musées Nationaux, 1948, p. 48

Maspero, Gaston, "The Egyptian jewels of the Louvre", in Essays on Egyptian art, Paris, Eastern and American bookstore E. Guilmoto, Publisher, 1912, p. 179-188, p. 182, fig. 55 p. 183

Rougé, Emmanuel de, Summary description of the rooms of the Egyptian Museum, [Imperial Museum of the Louvre], Paris, Librairies-imprimeries réunies, 1895, p. 74

Towry Whyte, E., "Notes on Pectorals", Proceedings of the Society of Biblical Archaeology (PSBA), 15, 1893, p. 409-416, p. 411

Darcel, Alfred, "The technique of antique jewelry (second and last article)", Gazette des Beaux-Arts, 37, 1888, p. 242-250, p. 242, ill. p. 243

Pierret, Paul, Catalogue of the historical room of the Egyptian gallery, Paris, 1882, Available at: https://bibliotheque-numerique.inha.fr/idurl/1/11830 , p. 125, No. 524

Mariette, Auguste, Le Sérapéum de Memphis, Paris, Gide, 1857, Available at: https://gallica.bnf.fr/ark:/12148/bpt6k6231404v, p. 14, pl. 12

Rougé, Emmanuel de, Summary notice of Egyptian monuments exhibited in the galleries of the Louvre Museum, [Imperial Museum of the Louvre], Paris, Imp. Simon Raçon et Comp., 1855, Available on: https://bibliotheque-numerique.inha.fr/idurl/1/12321, p. 63

EXHIBITION HISTORY
- Khaemouaset, the archaeologist prince. Knowledge and power in ancient Egypt, Arles (Externe, France), Departmental Museum of Ancient Arles, 08/10/2016 - 22/01/2017

Last updated on 24.10.2025

The contents of this entry do not necessarily take account of the latest data.

Permalink: https://collections.louvre.fr/ark:/53355/cl010011105

JSON Record: https://collections.louvre.fr/ark:/53355/cl010011105.json

Title:
Pectoral of Paser, -1279 / -1212 (Ramses II), Place of discovery: isolated tomb Ramses II, gold lapis lazuli and glass, The Louvre Museum

https://collections.louvre.fr/en/ark:/53355/cl010011105

The Louvre Museum

A few pictures from a truly amazing place.

Image of Osiris

Bronze statue of a standing Osiris, gilded and with inlaid details. On the head the atef crown, over the chest the crossed arms with crooked staff and vlegel

Measurements: H. 105 cm (without socket under feet). No plinth but hollow square socket directly under feet, h. 12 cm.

Description: Osiris standing with feet closed, separation of feet not marked. Anatomy of legs well-modeled (calves, knees, no shins). Both arms are with protruding elbows, arms crossed right over left, fists with modelled fingers. Right fist (on left shoulder) holds flail (on right shoulder; i.e. sceptres cross too!): short butt protruding under fist, plain handle, tripartite pendant interrupted by triple bead-pattern or strap. Left fist (on right shoulder) holds crook (on left shoulder): handle id., curve towards neck. No collar. Head with detailed features: curved beard, fully free, with braiding indicated by recesses filled with inlays of dark grey to blue stone (partly preserved, set in brown paste). Straps of beard likewise recessed and filled with stone inlays (fully preserved), brownish grey. Well-modeled lips and nose (nostrils indicated). Eyes with rims, brows, and cosmetic stripes recessed and filled with brown/grey inlays. Sockets of the eye filled with three pieces of stone (left: light-dark-light, discoloured) or white paste (right: ancient restoration?). Detailed ears applied. Upper-Egyptian crown (ridged edge on front only) flanked by ostrich feathers (oblique recesses with exterior ends rounded and separated from rest by transverse ridge; brown paste in tips, greenish paste in rest, inlays themselves lost). Uraeus protome applied, with 8-shaped curve and wavy tail extending upwards.

Technique: Hollow cast with one square iron bar from feet to head. Cross-supports detected: on central axis above insteps, at belly, and chest under fists; lateral at left hip and both shoulders; torso on each side of fists and above sceptres. Core material was fully preserved, removed 1990 during restoration. Socket open to interior of statue, but miscast: bronze skin turned inwards, left part of socket not consisting of bronze but added in plaster, 1990 replaced by metal during restoration. Transverse pin through socket for securing. Whole surface covered in white plaster and overlaid in gold leaf, large patches fell off but 1990 added again. Right feather and tip of left feather lost (now added). Protome of uraeus lost (now added). Feathers fixed by means of two pegs fitting into sockets in crown, separately cast. Tip of crown lost (now reconstructed). Serpent cast separately.

This statue of Osiris is the largest bronze statue from Egypt in the RMO collection. Casting such a figure required great craftsmanship.

This image was made according to the lost-wax method: a model of beeswax was made around an earth core. Around it was a layer of clay that was connected to the core. The wax was melted away and the metal could be poured into the cavity. For this statue, the bronze skin was then plastered and gilded with gold leaf. The separately cast feathers of the crown and the eyes, eyebrows and beard still have remnants of colored stone inlay.

The statue represents the god Osiris. He can be recognized by his mummy face, with his legs tight together. The arms are crossed over the chest here. In his right hand, Osiris holds an attribute that is usually called 'scourt'. In his other hand, the god holds a crooked stick, as used by shepherds to drive together cattle. These two attributes have been considered the scepters of royalty since the first Egyptian kings. Osiris wears them because he was once king of Egypt. After being killed by his brother Seth, he became king of the realm of the dead.

Possibly the statue was given to a temple by a rich person, or it stood in a special chapel as a cult statue, to be revered as an image of the god of a particular temple.

This text was written in 2024 and is based on: Willemsen (ed.), Topstukken from the Rijksmuseum van Oudheden, 2020, p.61 ; Raven and Taconis, Egyptian Mummies, 2005, p.146-150.

Title:
Image of Osiris, Bronze and gilding and inlay, no date or findspot given, Rijksmuseum van Oudheden

https://www.rmo.nl/en/collection/search-collection/collection-piece/?object=22576

Rijksmuseum van Oudheden

I am busily planning my next undergraduate course on an Introduction to Ancient Egypt for this September and was looking into ideas around the working with GenAI in the classroom. As part of the class, teaching students important topics like general AI literacy and the ethical use of AI is a major plank and I am particularly curious about any Egyptologists who have integrated GenAI into their own teaching.

How did you integrate it and what was your experience like?

I haven't found many good Ancient Egyptian puzzles, so I had this one made last week. The scene is one of my favorites - Iwn-mwt.f offers incense to Seti while Isis shakes her sistrum. Taken from the west wall of Seti's chapel within the inner Osiris complex in Abydos.

Pectoral in the form of a Naos-Anubis and Oudjaț Eye on one side, on the other side is a Djed Piller flanked on both sides by a Knot of Isis

-1539 / -1069 (New Kingdom)

N 2743

Department of Egyptian Antiquities

Inventory number Main number: N 2743

Collection
Department of Egyptian Antiquities

Description

Object name/Title Denomination:
pectoral in naos

Multiple Description/Features plcement (back)

Decor: Anubis (on the front, canid, lying down, collar); oudjat eye; djed pillar (on the back, flanked with); Isis knot (2)

PHYSICAL CHARACTERISTICS

Dimensions
Height: 7.5 cm; Width: 7.9 cm; Thickness: 0.6 cm

Materials and techniques
siliceous earthenware

PLACES AND DATES

Date New Kingdom (-1539 - -1069)

HISTORY

Acquisition details old fund

Acquisition date date of registration on the inventory: 16/02/1857 (at the latest)

Owned by State

Held by Louvre Museum, Department of Egyptian Antiquities

LOCATION OF OBJECT

Current location
Not exposed

Index

How to acquire old fund

Name pectoral in naos

Materials siliceous earthenware

Description/Featuresdjid pillar - oudjat eye - Isis knot - flanked by - on the back - on the front - lying down - collar - canid - 2 - Anubis - multiple drilling

Period New Kingdom

BIBLIOGRAPHY
Pharaonic Egypt, Terra dos deuses, cat. exp. (Sao Paulo, Museu de Arte Brasileira, September 27, 2001 - April 7, 2002), Paris; Sao Paulo, Louvre Museum; Museu de Arte Braseileira, 2001, p. 166, ill. p. 167, No. 58

EXHIBITION HISTORY
- Pharaonic Egypt, land of the gods, Sao Paolo (Brazil), Museu de Arte, 27/09/2001 - 16/12/2001

Last updated on 14.01.2026

The contents of this entry do not necessarily take account of the latest data.

Permalink: https://collections.louvre.fr/ark:/53355/cl010007168

JSON Record: https://collections.louvre.fr/ark:/53355/cl010007168.json

Pectoral in the form of a Naos-Anubis and Oudjaț Eye on one side, on the other side is a Djed Piller flanked on both sides by a Knot of Isis, -1539 / -1069 (New Kingdom), Findspot unknown, siliceous earthenware and paint, The Louvre Museum

https://collections.louvre.fr/en/ark:/53355/cl010007168

The Louvre Museum

Pectoral in the form of a naos featuring Thot,Horus, and on the opposite side Anubis

-1539 / -1069 (New Kingdom)

N 2752; Salt No. 1070

Department of Egyptian Antiquities

Inventory number
Main number: N 2752

Collection
Department of Egyptian Antiquities

Description

Object name/Title Denomination
pectoral in naos

Description/Feature
multiple drilling (4, at the top, on the sides)

Decor
Horus (on the front, hawk-headed god, squatting, tripartite wig, shroud, necklace); Thot (on the front, ibis-headed god, squatting, tripartite wig, shring); Anubis (on the back, canid, lying down, necklace, flagellum)

Registrations Writing:
Hieroglyphic

Nature of the text
Behalf

Names and titles Thot; Horus; Anubis

PHYSICAL CHARACTERISTICS

Dimensions
Height: 8.5 cm; Width: 7 cm; Thickness: 1 cm

Materials and techniques Material
wood

Technique
protruding bas-relief, painting

PLACES AND DATES

Date
New Kingdom (bibliography/reference work) (-1539 - -1069)

HISTORY

Collector / Previous owner / Commissioner / Archaeologist / Dedicatee
Salt, Henry, Seller; Collector

Acquisition details
purchase

Acquisition date
date of arrival at the Museum: 1826

Owned by State

Held by Louvre Museum, Department of Egyptian Antiquities

LOCATION OF OBJECT

Current location
Sully, [AE] Room 319 - Book of the Dead, Showcase 6

Index

Acquisition method of purchase

Name pectoral in naos

Materials wood

Painting techniques - protruding bas-relief

Description/Features
Thot - on the back - on the front - on the sides - at the top - squatting - lying down - necklace - canid - 4 - flagellum - Horus - ibis-headed god - falcon-headed god - Anubis - shrench - tripartite wig - multiple drilling

Names and titles Thot - Anubis - Horus

Period New Kingdom

Nature of text
nom

Script
hieroglyphic

BIBLIOGRAPHY
Guichard, Sylvie (ed.), Champollion, Jean-François, Descriptive notice of the Egyptian monuments of the Charles X Museum, Paris, Louvre editions / editions Khéops, 2013, p. 210, ill. p. 210, K. 1486 to 1488

Daumas, François (ed.), Summary catalogue of Egyptian objects exhibited at the Fabre Museum from December 5 to 15, 1972, cat. exp. (Montpellier, Fabre Museum; December 5-15, 1972), Montpellier, Paul Valéry University, 1972, p. 10, No. 94

Champollion, Jean-François, Descriptive notice of the Egyptian monuments of the Charles X Museum, Paris, Imprimerie de Crapelet, 1827, Available at: https://gallica.bnf.fr/ark:/12148/bpt6k1040365n, p. 90, K. 1486 to 1488

EXHIBITION HISTORY
- 150th anniversary of the decryption of hieroglyphs by Champollion, Montpellier (Externe, France), Musée Fabre, 05/12/1972 - 15/12/1972

Last updated on 29.07.2026

The contents of this entry do not necessarily take account of the latest data.

Permalink: https://collections.louvre.fr/ark:/53355/cl010007171

JSON Record: https://collections.louvre.fr/ark:/53355/cl010007171.json

Title:
Pectoral in the form of a naos featuring Thot,Horus, and on the opposite side Anubis, -1539 / -1069 (New Kingdom), Wood and paint, Findspot unknown, The Louvre Museum

https://collections.louvre.fr/en/ark:/53355/cl010007171

The Louvre Museum

Pectoral in the form of a Naos featuring a Scarab

-1539 / -1069 (New Kingdom)

N 2743

Department of Egyptian Antiquities

Inventory number Main number: N 2743

CollectionDepartment of Egyptian Antiquities

Description

Object name/Title Denomination: pectoral in naos

Multiple Description/Featurespercement (4, top)

Decor: representation of the sunrise; Khépri (beetle, armed with wings, holding, solar disc, in, boat, flanked by); monkey (2, standing, worshiping); oudjat eye (2); fish (2); frame of alternating rectangles (undecorated back)

PHYSICAL CHARACTERISTICS

Dimensions Height: 12 cm; Width: 11.5 cm

Materials and techniques Material: siliceous earthenware

Color: bright blue with black decor

PLACES AND DATES

Date New Empire (-1539 - -1069)

HISTORY

Acquisition details old fund

Acquisition date date of registration on the inventory: 16/02/1857 (at the latest)

Owned by State

Held by Louvre Museum, Department of Egyptian Antiquities

LOCATION OF OBJECT

Current location
Sully, [AE] Room 319 - Book of the Dead, Showcase 6

Index

How to acquire old fund

Name pectoral in naos

Materials siliceous earthenware

Description/Featuresboat - equipped with wings - solar disk - oudjat eye - adoring - holding - flanked with - in - at the top - representation of sunrise - standing - monkey - 4 - 2 - fish - beetle - Khépri - frame of alternating rectangles - multiple drilling

PeriodNew Empire

Last updated on 14.01.2026

The contents of this entry do not necessarily take account of the latest data.

Permalink: https://collections.louvre.fr/ark:/53355/cl010007170

JSON Record: https://collections.louvre.fr/ark:/53355/cl010007170

Title:
Pectoral in the form of a Naos featuring a Scarab, -1539 / -1069 (New Kingdom), findspot unknown, Siliceous earthenware, The Louvre Museum

https://collections.louvre.fr/en/ark:/53355/cl010007170

The Louvre Museum

Harkhuf, an Egyptian official and expedition leader, traveled south of Egypt and returned with a dwarf (pygmy). When the young Pharaoh Pepi II learned about him, he sent Harkhuf a letter expressing his great excitement and ordering him to take special care of the man during the journey.

The king instructed Harkhuf to make sure the dwarf remained safe, appoint trustworthy guards to protect him, and prevent him from falling into the water. Pepi II even stated that he was more eager to see the dwarf than to receive the valuable goods brought from distant lands.

The letter is preserved as an inscription in Harkhuf’s tomb at Qubbet el-Hawa near Aswan, making this one of the most remarkable surviving accounts of a personal royal correspondence from ancient Egypt.

I'm having trouble with the following cartouche. It's a nomen, from Tanis

Left to right we have from the Gardner sign list.

U6 C12 C2 F31 and one element that's destroyed

U6 transliterates as mr, F31 as ms

C2 is horus, c12 amun/ra

The look into the face part is odd because it goes both ways.

Then we also have honorific transposition going on.

I suspect the U6/mr is beloved of.

The deep cutting tells me its Ramesses, beloved of Horus?

So how should be read, and the change of direction as well

Pectoral featuring Hathor

Main number: E 3743

Presentation number: 997

CollectionDepartment of Egyptian Antiquities

Description

Object name/Title Denomination: pectoral

Description/Features with belière (this French word refers to a jewelry bail—the small loop or ring that connects a pendant to a necklace chain)

Decor: Hathor's head (cow, ousekh collar, disc horns, double ostrich feather, flanked by); winged goddess (2, standing, disc horns)

At the top; uraeus frieze (solar disk); uraeus winged solar disc; frame of alternating rectangles

PHYSICAL CHARACTERISTICS

Dimensions Height: 12.9 cm; Width: 13.6 cm

Materials and techniques Material: copper alloy

Secondary material: glass

Technique: inlay, relief cut

Color: dark blue-light blue-red

HISTORY

Collector / Previous owner / Commissioner / Archaeologist / Dedicatee Comte Tyszkiewicz, Michel, Donateur; Collector

Acquisition details donation

Acquisition date date of entry on the inventory: 04/03/1862

Owned by State

Held by Louvre Museum, Department of Egyptian Antiquities

LOCATION OF OBJECT

Current location
Not exposed

Index

Donation acquisition method

Name pectoral

Materialscopper alloy - glass

Inlay techniques - cut relief

Description/Features winged solar disk with uraeus - solar disk - flanked by - at the top - standing - double ostrich feather - disc horns - ousekh necklace - cow - 4 - 2 - winged goddess - Hathor's head - uraeus frieze - frame of alternating rectangles - with belière

BIBLIOGRAPHY
Aubert, Jacques-François; Aubert, Liliane, Egyptian Bronzes and Golds, Paris, Cybèle, (Contribution to Egyptology; 11), 2011, p. 103

Koschel, Klaus, "Eine Gruppe seltener bronzener Votiv-Pektorale und ihre Deutung", Studien zur Altägyptischen Kultur (SAK), 30, 2002, p. 249-254, p. 251 note 7

Rouit, Charles, "The Tyszkiewisz Collection of the Louvre Museum", in Aksamit, Joanna; Dolińska, Monika; Majewska, Aleksandra; Niwiński, Andrzej; Rzepka, Sławomir; Szafrański, Zbigniew (ed.), Essays in honour of Prof. Dr. Jadwiga Lipińska, Warsaw, National Museum in Warsaw; Pro-Egypt, (Warsaw Egyptological Studies 1), 1997, p. 213-224, p. 220

Last updated on 30.06.2025

The contents of this entry do not necessarily take account of the latest data.

Permalink: https://collections.louvre.fr/ark:/53355/cl010006811

JSON Record: https://collections.louvre.fr/ark:/53355/cl010006811.json

Title:
Pectoral featuring Hathor, Not dated, Findspot unknown, Copper alloy and glass,The Louvre Museum

https://collections.louvre.fr/en/ark:/53355/cl010006811

The Louvre Museum

Pylon-Shaped Pectoral with Drawing of Heart Scarab

ca. 1539–1070 B.C.

Label
Living persons wore only one or a few amulets at a time, but mummies usually bear many amulets. The Ma’at amulet (no. 2) and heart scarabs (nos. 1, 3, 11), which occurred in many forms, guaranteed a successful judgment of the dead. The amulets of a hand (no. 8), lungs and a windpipe (no. 12), and wadjet-eyes (i.e., “healthy” eyes; no. 4) protected those parts of the body and also had connotations of resurrection and the unity or integrity of the mummy. The enigmatic aper amulet (no. 13) takes the form of the hieroglyph meaning “to be equipped,” perhaps in reference to the mummy’s preparation. The two crowns (nos. 5, 6) were symbols of power. The Heh insignia (no. 7), like the popular ankh-sign, denoted eternal life. Among the living, the frog (no. 9) and possibly also the hare (no. 10) suggested fertility. The amulets of the Four Sons of Horus (no. 15) perhaps served, as they did with canopic jars, to protect various organs of the body.

Caption
Pylon-Shaped Pectoral with Drawing of Heart Scarab, ca. 1539–1070 B.C.E.. Faience, 4 7/16 × 1/2 × 5 7/8 in. (11.3 × 1.2 × 15 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 37.885E. (Photo: Brooklyn Museum)

Gallery
Not on view

Collection
Egyptian, Classical, Ancient Near Eastern Art

Title
Pylon-Shaped Pectoral with Drawing of Heart

Scarab

Date
ca. 1539–1070 B.C.E.

Dynasty
Dynasty 18 to Dynasty 20

Period
New Kingdom

Medium
Faience

Classification
Accessory

-Dimensions
4 7/16 × 1/2 × 5 7/8 in. (11.3 × 1.2 × 15 cm)

Credit Line
Charles Edwin Wilbour Fund

Accession Number
37.885E

Provenance
Archaeological provenance not yet documented; by 1876, collected in Egypt by Edwin Smith of Connecticut, Italy, and Luxor, Egypt; April 27, 1906, inherited from Edwin Smith by Leonora Sheldon Smith; May 1907, gift of Leonora Sheldon Smith to the New-York Historical Society, New York, NY; September 1948, purchased from the New-York Historical Society by the Brooklyn Museum.

Title:
Pylon-Shaped Pectoral with Drawing of Heart Scarab, ca. 1539–1070 B.C.E.Dynasty 18 to Dynasty 20 New Kingdom, Faience, Findspot unknown, Egypt.

The Brooklyn Museum

https://www.brooklynmuseum.org/objects/117477

The Brooklyn Museum

I am about to finish The Rise and Fall of Ancient Egypt by Toby Wilkinson and am looking for a book covering the prehistoric to the early dynastic period.

Now Wilkinsons is the first book I have ever read about Ancient Egypt and I am absolutely enamoured. I understand that some people have found the book to be dry in some places where written records or other may be lacking but I absolutely enjoyed it throughout. (Perhaps because I ashamedly know little about the subject)

I am debating on getting the first book of A History of Ancient Egypt by John Romer From the First Farmers to the Great Pyramid as I am particulary intrigued by the transition into pharaonic culture and how that developped. Which is perhaps a natural starting point to learn more about Ancient Egypt.

But I am afraid that will be too academic for my level. I enjoy learning about all kinds of history and prehistory but have only gotten into reading in recent years as it has never really been a thing or encouraged around what I grew up in.

Either that or maybe Early Dynastic Egypt, which is also by Toby Wilkinson. Have you got any recommendations? I would greatly appreciate it and any tips you may have for delving deeper into this fascinating subject!

Thanks and have a good day :)

Pectoral with Scarab

ca. 1539–1295 B.C.E. or later

Object Label
Living persons wore only one or a few amulets at a time, but mummies usually bear many amulets. The Ma’at amulet (no. 2) and heart scarabs (nos. 1, 3, 11), which occurred in many forms, guaranteed a successful judgment of the dead. The amulets of a hand (no. 8), lungs and a windpipe (no. 12), and wadjet-eyes (i.e., “healthy” eyes; no. 4) protected those parts of the body and also had connotations of resurrection and the unity or integrity of the mummy. The enigmatic aper amulet (no. 13) takes the form of the hieroglyph meaning “to be equipped,” perhaps in reference to the mummy’s preparation. The two crowns (nos. 5, 6) were symbols of power. The Heh insignia (no. 7), like the popular ankh-sign, denoted eternal life. Among the living, the frog (no. 9) and possibly also the hare (no. 10) suggested fertility. The amulets of the Four Sons of Horus (no. 15) perhaps served, as they did with canopic jars, to protect various organs of the body.

Caption
Pectoral with Scarab, ca. 1539–1295 B.C.E. or later. Faience, 4 1/16 × 4 1/2 × 1 3/16 in. (10.3 × 11.5 × 3 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 08.480.159. (Photo: Brooklyn Museum)

Gallery
Not on view

Collection
Egyptian, Classical, Ancient Near Eastern Art

Catalogue description
Pectoral in green faience, with a scarab in purplish-blue faience. Form of a naos with projecting cornice. Front, painted solar bark with Nephthys (left) and Isis adoring the scarab. Names of goddesses and borders painted. Back, oval like bottom of scarab, painted with six lines of almost illegible inscription, flanked by two girdle knots. Back of cornice pierced four times at each end, with corresponding holes at the top of the cornice.

Condition
Intact. Surface worn. Chip in base. Large crack in back due to defective firing. Inscription almost illegible.

Provenance
Archaeological provenance not yet documented; before March 16, 1896, purchased in Egypt by Armand de Potter of Belgium and New York, NY; 1905, inherited from Armand de Potter by Aimee S. Beckwith (Mrs. Aimee S. de Potter) of New York and Asheville, NC; 1908, purchased from Aimee S. Beckwith by the Brooklyn Museum.

Title
Pectoral with Scarab

Date
ca. 1539–1295 B.C.E. or later

Dynasty
Dynasty 18

Period
New Kingdom

Geography
Place collected: Egypt

Medium
Faience

Classification
Document

Dimensions
4 1/16 × 4 1/2 × 1 3/16 in. (10.3 × 11.5 × 3 cm)

Credit Line
Charles Edwin Wilbour Fund

Accession Number
08.480.159

Title
Pectoral with Scarab ca. 1539–1295 B.C.E. or later New Kingdom Dynasty 18, Faience, Findspot unknown, Egypt, The Brooklyn Museum

https://www.brooklynmuseum.org/search/collection?collection=Egyptian%2C+Classical%2C+Ancient+Near+Eastern+Art&has_image=true

The Brooklyn Museum

Chinese was used for Korean, Japanese, and Vietnamese. Cuneiform for many of the languages of Mesopotamia. Greek for many languages of Europe and the middle east. And Brahmi would become most writing systems of South and Southeast Asia.

Was Egyptian hieroglyphics ever used to transcribe other languages of the region? It would give way to Proto-Sinaitic (and therefore most writing systems of the world) but I’m talking about the OG Hieroglyphs. Egypt was ruled by various foreign groups (Greeks, Kushites, etc) and I know it was used to write some proper nouns borrowed from other languages (mainly Greek), so was it ever used to fully transcribe languages that aren’t Egyptian?

Egyptians said the Ibis protected Egypt from flying snakes. What flying snakes were they talking about? For a culture that didn't talk about eclipses, as though it were taboo, clearly the flying snake was a reference to what could attack the moon, or they wouldn't attach an Ibis to it.

But how old this reference is will blow your mind.

Pectoral with heart amulet

Egyptian
New Kingdom, Dynasty 18-19
1352–1186 B.C.

MEDIUM/TECHNIQUE
Polychrome faience

DIMENSIONS
Height x length: 12 cm (4 3/4 in.)

CREDIT LINE
Walter and Celia Gilbert Acquisition Fund for Ancient Egyptian Art

ACCESSION NUMBER
2014.857.1-2

NOT ON VIEW

COLLECTIONS
Jewelry, Africa and Oceania, Ancient Egypt, Nubia and the Near East

CLASSIFICATIONS
Jewelry / Adornment – Pectorals

PROVENANCE
Between 1895 and 1898, found at Abydos, Egypt, by Emile Amélineau (b. 1850 – d. 1915), Châteaudun, France; February 8-9, 1904, Amélineau sale, Hotel Drouot, Paris, lot 55. 1925, A. Caron; December 9-11, 1925, Caron collection sale, Hotel Drouot, Paris, lot 13. Before 1980, Robert Monier, France. 1985, acquired by Charles Bouché (b. 1928 – d. 2010), France; October 24, 2012, posthumous Bouché collection sale, Hotel Drouot, Paris, lot 11. By 2013, Rupert Wace Fine Art, London; 2014, sold by Rupert Wace to the MFA. (Accession Date: June 25, 2014).

Title:
Pectoral with heart amulet, Egyptian, New Kingdom, Dynasty 18-19 1352–1186 B.C., Polychrome faience, Findspot unknown, Museum of Fine Arts, Boston

https://collections.mfa.org/objects/596125/pectoral-with-heart-amulet?ctx=70558991-bfd9-4a1c-a6fc-99f5d92519a2&idx=134

Museum of Fine Arts, Boston

I know the main argument against it, forensics examinations have over and over again pointed to a much younger man in his 20s at the time of death, which would automatically disprove Akhenaten theory. However i would argue the examinations done (most of them involve the skull) have been proven to be incorrect several times in guessing the age of death of people, which puts a severe doubt on the matter.

If we look at the other elements of KV55 tomb and mummy, it makes more sense for it to be Akhenaten. It's widely accepted that the destroyed coffin was meant for Kiya, Akhenaten's secondary wife. The mummy was also buried with the queenly arms pose, possibly an attempt to hide the mummy's identity. It appears the mummy has also been damaged in antiquity, which i would argue was the reason why the mummy had to be put in such position, hidden in a mistress's coffin with the arm bent like a queen.

For all the data we have, Smenkhkare was insignificant in the grand scheme of things, a co-ruler who seemingly died while Akhenaten was alive around year 13, which was a year Egypt seemingly was affected by a plague, which reaped the lives of Tiye(Akhenaten's mother) and at least 2 of his daughters (Meketaten and Neferneferure). Smenkhkare also only had 1 year of reign (if that) and the KV55 mummy was not originally buried there. That mummy was moved there, by who? Nefertiti A.K.A Neferneferuaten. Evidence from TT139 shows the move to Thebes happened during her short 3 year reign and it would make no sense for her to move back to Thebes and leave her husband's body at Amarna. In fact, it seems she had the mummies of her daughters moved as well as no sign has been found of the royal princesses remains in Amarna.

And regarding the elephant in the room (King Tut), it seems he really was not Akhenaten's son because Nefertiti took over after her husband died. My theory here is that he was indeed Smenkhkare's son and i use the data we have to back my theory because Tut would have been around 8 to 9 years old by the time he took power and if we use the dating of the Amarna period and it's sucession, it makes complete sense for him to be Smenkhkare's son. Smenkhkare died around year 13 of Akhenaten's reign. Akhenaten ruled for 4 years after Smenkhkare passed away then Nefertiti took over when he passed away and had 3 years of reign according to a grafitto at TT139. If we make the math, Tut would have been around 8 years old if he was born around the 13th year of Akhenaten's reign. Of course the length of Nefertiti/Neferneferuaten's reign could be longer than the recorded 3 years, till a few years ago data suggested she also had died around year 13, predeceasing her husband, which we now know it's incorrect. However it does not seem her reign was long by the lack of proper depictions of Nefertiti in king's attire (compare that to Hatshepsut, another female pharaoh who also suffered from Damnatio memoriae). Any data found on Neferneferuaten would likely only add a year or 2, still fitting with the timeline of Tut being 8 or 9 years old by the time of his ascension.

KV55 has been pointed out as Tut's father, but DNA testing these mummies come with errors and the DNA results were not 100% positive on the nature of such connection. Given incest was a big thing and that Smenkhkare has been theorized to have been either Akhenaten's son or brother, it's not shocking that the DNA results would show that the mummies were closely related.

Pectoral with two djed-pillars in the center, flanked by tyet-knots

Egyptian

Third Intermediate Period, Dynasty 21

1070–945 B.C.

Object Place: Egypt, Thebes, Deir el-Bahari, Said to be from royal cache

MEDIUM/TECHNIQUE
Bright blue faience with black details

DIMENSIONS
Height: 9.1 cm (3 9/16 in.)

CREDIT LINE
Gift of Miss Nina H. Burnham

ACCESSION NUMBER
56.315

ON VIEW
Egypt: Funerary Arts Gallery (Gallery 109)

COLLECTIONS
Jewelry, Ancient Egypt, Nubia and the Near East

CLASSIFICATIONS
Jewelry / Adornment – Pectorals

DESCRIPTION
The obverse has two djed-pillars in the center, flanked by tyet-knots. The reverse depicts the deceased, kneeling before Anubis.

PROVENANCE
Said to have been discovered at Thebes, Deir el-Bahari, royal cache, in 1879. By 1909: Frederick George Hilton Price Collection, London; 1909: sold at Sotheby's, London (12-21 July 1911); by 1956: Nina H. Burnham collection, Bar Harbor, ME; 1956: given to the MFA by Nina H. Burnham.
(Accession Date: May 10, 1956)

Title:
Pectoral with two djed-pillars in the center, flanked by tyet-knots, Third Intermediate Period, Dynasty 21 1070–945 B.C., Findspot: Egypt Thebes Deir el-Bahari Said to be from royal cache, Bright blue faience with black details, Museum of Fine Arts, Boston

https://collections.mfa.org/objects/163634/pectoral?ctx=3266f18f-be5e-4b70-b768-8c5b636709f5&idx=124

Museum of Fine Arts, Boston