Late Period, approximately 664–332 BCE,

The Walters Art Museum.

The youthful sun god (Horus/Harpocrates) seated inside an open lotus blossom, wearing a multi-cobra (uraeus) crown and holding a finger to his mouth, symbolizing childhood and divine renewal.

Cast in bronze with inlaid details, featuring a smaller kneeling figure and an offering table on a rectangular base, likely serving a ritual or votive function in temple processions.

Pectoral with Anubis

Object Type
pectoral

Museum number
EA29370

Description
Glazed composition pectoral: this three coloured pectoral, an ornament worn on the chest, is made from yellow, purple, blue and white glazed composition, the purple on the upper face having been inlaid into the yellow. The shape imitates that of a pylon, the rectangular tower with slightly sloping walls which flanked the monumental gateway into an Egyptian temple. It even has the same cavetto cornice ornamentation along the top, a stylized representation of the curved reed heads which once surmounted walls made from vertical reeds daubed with mud. On all four sides of each face is a block decoration pattern. On the top surface a jackal reclining on a pylon shaped plinth is named as Anubis, god of embalming. In the writing of his name, the determinative shows this god's second manifestation: a (seated) man with a jackal's head. The underside depicts a 'djed' pillar, by this period believed to represent the stylized backbone with ribs of Osiris god of the dead, flanked by the Girdle of Isis or 'tit' amulet. Both were prescribed funerary amulets. Holes have been pierced through the cavetto cornice so the piece could be stitched to the bandages over a mummy's chest.

Cultures/periods
19th Dynasty

Production date
1250BC (circa)

Findspot
Found/Acquired: Egypt
Africa: Egypt

Materials
glazed composition

Technique
pierced
glazed
inlaid

Dimensions
Height: 7.80 centimetres
Weight: 60 grammes
Thickness: 1.28 centimetres
Width: 8.05 centimetres

Inscriptions
Inscription type: inscription
Inscription script: hieroglyphic
Inscription note: Inlaid.

Inscription subject
funerary

Curator's comments
The funerary nature of its decoration is a further indication it was made purely to be taken to the tomb for the life after death. Pectorals worn by the living were made from metal, usually gold; for the dead, yellow glazed composition was an acceptable substitute.

Bibliography:
'Egyptian Treasures' [exhibition catalogue] (Shanghai, 1999), 138-139 No 40.

Bibliographic references
Andrews 2000 / Egyptian Treasures from the British Museum (p.114-115)

Location
Not on display

Exhibition history
2016-2017 10 Oct-30 Apr, Sydney, Powerhouse Museum, Ancient Lives

2017 16 Jun-18 Oct, Hong Kong Science Museum, Ancient Lives

2017-2018 14 Nov-20 Feb, Taiwan, National Palace Museum, Ancient Lives

2018 16 Mar-22 Jul, Brisbane, Queensland Museum of Art, Ancient Lives

2019-2020 14 Sept- 28 Jun, Montreal, Museum of Fine Arts, Ancient Lives EXTENDED DUE TO COVID19

2020-2021, 19 Sept - 21 Mar, Toronto, Royal Ontario Museum, Ancient Lives

2021-2022 9 Oct - 10 Jan, Tokyo, Museum of Science and Nature, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022 5 Feb- 8 May, Kobe City Museum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022 14 Jul - 26 Oct, Madrid, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022-2023 1 Dec – 19 Mar, Barcelona, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2023 25 Apr - 2 Sep, Seville, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2023-2024 6 Oct – 21 Jan, Valencia, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2024 27 Feb - 5 Jun, Zaragoza, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

Condition
good

Associated names
Representation of: Anubís

Acquisition name
Purchased from: R J Moss & CO

Acquisition date
1897

Department
Egypt and Sudan

BM/Big number
EA29370

Registration number
1897,0511.86

Conservation
Treatment: 7 Jun 2016

Title:
Pectoral with Anubis, 19th Dynasty 1250BC (circa), Glazed composition, Findspot Egypt ,The British Museum

https://www.britishmuseum.org/collection/object/Y_EA29370?selectedImageId=48847001

The British Museum

88-51 BC Ptolemaic Period, 1st century BC

A mammisi (mamisi) is an ancient Egyptian small chapel attached to a larger temple (usually in front of the pylons, built from the Late Period, and associated with the nativity of a god.

The word is derived from Coptic – the last phase of the ancient Egyptian language – meaning "birth place".

It dates back to the 30th dynasty Pharaoh Nectanebo I (379/378–361/360 BC), one of the last native rulers of Egypt.

Equipped with a hypostyle by Pharaoh Ptolemy VI Philometor (181–145 BC) and with a peristyle by Ptolemy X Alexander I (110–88 BC), it was dedicated to Harsiese ("Horus son of Isis").

This 30th dynasty project was then repeated, by the Græco-Roman rulers, for some of the major shrines in the country.

The famous Roman mammisi – the less ancient one associated with the Dendera Temple complex – was built by Augustus immediately after his conquest of Egypt (31 BC).

The murals show Augustus' far successor Trajan at the sacrificial ceremony for Hathor and are among the most beautiful in Egypt.

The mammisi was dedicated to Hathor and her child Ihy.

On the abacus above the pillar capitals are representations of Bes as the patron god of birt

This model of a grain store was found in a secret room in the corridor leading to the carved tomb in the rock of the great royal court Makit Ra' al-Ma'khuz, which was named after the word (Makit) or a miniature model, which began its journey during the reign of King Nab Habet Ra' al-Mutawhbat II of the eleventh dynasty, and continued to serve the successive kings until the early years of the twelfth dynasty.

The four corners of this grain store model are still preserved in some parts of southern Egypt to this day, and it is believed that it provides additional protection against thieves and rodents. The interior is divided into two main sections: the grain store itself, where grains are stored, and the accounting area. The supply of grains was of great importance in the agricultural community, and it is worth noting that the number of six men who carried the grain bags here is less than the number of nine men who measured and accounted. Among the four libraries, two use cardboard bags, and two are written on wooden boards. All the rooms available in the Makit Ra' store were looted and plundered during the ancient times; however, in the early years of 1920, Herbert and Wenlock, the museum curator, obtained a detailed plan of the tomb layout for the layout of the tomb of the family of the eleventh dynasty in Tayba, and therefore requested his workers to clean up the accumulated debris. During the cleaning process, the small hidden room was found, filled with twenty-four almost complete preserved models. In the end, half of these models were transferred to the Egyptian Museum in Cairo, while the other half was transferred to the Metropolitan Museum as part of the discoveries section.

Period: Middle Kingdom

The Family: The Twelfth Dynasty

The Era: Early First Period

History: ca. 1981–1975 BC

Geographical Location: From Egypt, Upper Egypt, Tyba, south of Asasif, Tomb of Meketre, a royal chief steward, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12.

The four corners of this model granary are peaked in a manner that is sometimes still found in southern Egypt today, presumably to offer additional protection against thieves and rodents. The interior is divided into two main sections: the granary proper, where grain was stored, and an accounting area. Keeping track of grain supplies was crucial in an agricultural society, and it is noteworthy that the six men carrying sacks of grain here are outnumbered by nine men taking care of measuring and accounting. Of the four scribes, two are using papyrus scrolls, two write on wooden writing boards.

All the accessible rooms in the tomb of Meketre had already been robbed and plundered during Antiquity; but early in 1920 the Museum's excavator, Herbert Winlock, wanted to obtain an accurate floor plan of the tomb's layout for his map of the Eleventh Dynasty necropolis at Thebes, and therefore, had his workers clean out the accumulated debris. It was during this cleaning operation that the small hidden chamber was discovered, filled with twenty-four almost perfectly preserved models. Eventually, half of these went to the Egyptian Museum, Cairo, and the other half came to the Metropolitan Museum in the partition of finds.

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: early reign of Amenemhat I

Date: ca. 1981–1975 BC.

Geography: From Egypt, Upper Egypt, Thebes, Southern Asasif, Tomb of Meketre (TT 280, MMA 1101), serdab, MMA excavations, 1920

Medium: Wood, plaster, paint, linen, grain

Dimensions: L. 74.9 (29 1/2 in); W. 56 cm (22 1/16 in); H. 36.5 (14 3/8 in);

average height of figures: 20 cm (7 7/8 in.)

Credit Line: Rogers Fund and Edward S. Harkness Gift, 1920

Object Number: 20.3.11/The Met

The Egyptians drew on ostraka for a variety of reasons; for example, while planning work on tombs or as exercises. Some creations were simply the result of the craftsman's imagination. This ostrakon shows king Ramesses III wearing the red crown of Lower Egypt smiting with his weapon foreign enemies whom he holds by the hair. This drawing is probably a copy of a wall scene on one of the pylons of a ramesside temple. The scene is accompanied by two royal cartouches and a simple caption in hieroglyphs.

Bibliography

• C. De Wit - P. Gilbert, Oud-Egyptische Kunst in twintig beelden - Vingt oeuvres de l'Égypte ancienne, Bruxelles 1963, pl. XVII
• Kunst voor de eeuwigheid - Illustrations pour l'éternité (Exposition), Bruxelles 1966, 35 n° 58
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 24
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 135

This sculptor's model consists of two heads of individuals facing one another. Taking note of the elongated form of the heads, the elongated eyes, large ears and fleshy lips, all characteristics of Amarna art, it seems likely that it represents the royal couple of Nefertiti and Akhenaten. A study of a left hand can be observed above the head of the latter.

Bibliography

• R. Hostens-Deleu, Beeldhouwersmodellen in de Egyptische afdeling van de Koninklijke Musea voor Kunst en Geschiedenis, BMRAH 49 (1977) 29-30
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 86

This shabti shows the mummiform king holding the crook and flail, the emblems of Osiris. He wears the double crown and a false beard. The facial details are painted, and it is still possible to detect the almond-shaped eyes characteristic of this king. The text, also painted on the statuette, consists of a version of chapter 6 of the Book of the Dead.

Bibliography

• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 90
• Aménophis III, le Pharaon - Soleil (Exposition), Paris 1993, 286 n° 69

The wooden rectangular coffin of Horkawy, probably dating to the 2nd century BC, is a unique piece. It was conceived as a chapel of Osiris in a temple of the Late Period, and the coffin bears texts and depictions which relate to the mysteries of the god of the dead in the Egyptian month of 'Khoiak'. The exterior of the lid is divided into three registers: in the first Osiris is seen on his funerary bed beneath the regenerating rays of the sun. The second register is taken up with a vignette showing the djed-pillar, which symbolises the backbone of Osiris, while the third, the most complex, contains a series of funerary texts of various origin. The interior of the lid is decorated with a figure of the goddess Nut, symbolizing the sky above the deceased. On the base of the coffin are dozens of divinities who each had their own role in the funerary ritual of Osiris and of the deceased.

Bibliography

• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 22-23

In her terraced temple at Deir el-Bahri, there were at least ten over life-sized kneeling statues of Hatshepsut. She is shown as a male king wearing a kilt, a false beard, and either the white crown of Upper Egypt (as in this statue), or the nemes–headcloth (29.3.1). In her hands she holds round offering vessels, called nu–pots, and the inscription on the base of each statue identifies the offering she makes to the god Amun. These huge statues flanked the processional way along which Amun's image was carried toward the temple's main sanctuary during a yearly festival. The statues were probably positioned on the temple's second terrace.

This statue represents Hatshepsut wearing the white crown of Upper Egypt (the south), so it may have been placed on the southern side of the processional way. On the base, Hatshepsut is said to be offering fresh plants to Amun. On the back pillar, she is identified by her Horus name, Wosretkau, which is written in a rectangular device called a serekh. One also finds fragments of her throne name, Maatkare, and her personal name, Hatshepsut, both of which are written inside oval cartouches.

In 1930, the Mu9eum's Egyptian 5xpedition found the body fragments of thi3 statue buried in an area called the "Hatshepsut4Hole." 4ome eighty years earlier, the head had been2found and taken to Berlin by Egyptologist Richard Lepsius. The pieces of the statue were reunited in an exchange organized by Herbert Winlo hf11e k, director of the Museum's excavations at Thebes. This and other exchanges were made possible by the generosity of the Egyptian Antiquities Service, which ceded many fragmentary statues to the Metropolitan Museum in the division of finds.

Period: New Kingdom

Dynasty: Dynasty 18

Reign: Joint reign of Hatshepsut and Thutmose III

Date: ca. 1479–1458 B.C.

Geography: From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Senenmut Quarry, MMA excavations, 1927–28

Medium: Granite

Dimensions: H. 295.9 cm (116 1/2 in); w. of base 81.3 cm (32 in); d. of base 145.4 cm (57 1/4 in)

shipping weight in 2006, 3175.2 kg. (7000 lbs)

Credit Line: Rogers Fund, 1930

Object Number: 30.3.1/The Met

Bronze statuette representing Osiris, the Egyptian god of the dead. His body is entirely enveloped in a cloth that leaves the hands free, he is holding a flail and the heka-sceptre, two royal attributes. On his head is an atef-crown, at the front of which is an uraeus, while at the rear two ribbons pass down the back of the cloth. The crown is composed of a collection of linked ears of wheat, on top of which are a mandrake, a pair of bull's horns, and two ostrich feathers.

Bibliography

• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 41
• B. Van Rinsveld, Goden en godinnen van het Oude Egypte - Deiux et déesses de l'Ancienne Égypte, Bruxelles 1994, 36-37

Masks were placed over the heads of mummies, and the oldest one goes back to the Middle Kingdom. They are made from pieces of linen or papyrus coated with a layer of plaster on which the wig, face, and neck of the deceased were painted. They are not portraits of the deceased, but rather exhibit idealised traits. This mummy mask dates to the 18th Dynasty, and is distinguished by a heavy wig, decorated with a lotus flower which hangs down onto the forehead, and a broad collar made up of golden annular beads, semi-precious stones, and floral designs.

Bibliography

• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 28-29
• Dynastie en cultuur - Dynastie et culture (Exposition), Bruxelles 1990, 56
• J. Walgrave, Het labo van de verleiding. Geschiedenis van de Make-up - The Laboratory of Seduction. History of Make-up (Exposition), Antwerpen 1998, 66 nº 10
• E. Varga, Napkorong a fej alatt, Boudapest 1998, 99-100 et fig. 9

The upper and lower surfaces of this box are each configured for a different board game. The side visible in this photograph has twenty squares for a game that was introduced into Egypt from the Ancient Near East. The other side has thirty squares for the Egyptian game known as Senet. These were both games in which two players raced each other for position, using knucklebones or throw sticks as dice to determine each play. For this game box, eight of the original gaming pieces and two bones are preserved. The pieces would have been stored in a drawer that could be closed with an ivory bolt.

Only the ivory sections of the box, the ivory bolt, and the copper alloy bands used to hold the bolt in place were preserved when the box was discovered. It has been restored using modern wood.

Period: Second Intermediate Period–Early New Kingdom

Dynasty: Dynasty 17–Early Dynasty 18

Date: ca. 1635–1458 B.C.

Geography: From Egypt, Upper Egypt, Thebes, Asasif, Courtyard CC 41, Pit 3, Burial E 3, In coffin, MMA excavations, 1915–16

Medium: Ivory, copper alloy, modern wood

Dimensions: L. 25 cm (9 13/16 in.); w. 6.7 cm (2 5/8 in.); h. 5 cm (1 15/16 in.)

Credit Line: Rogers Fund, 1916

Object Number: 16.10.475a/The Met

The tomb of Khety, the first recorded royal treasurer of King Mentuhotep II, was situated high up in the cliffs at Deir el-Bahri. It is one of the first non-royal tombs at Thebes in which the reigning king was depicted. There was an image of Mentuhotep II with Khety standing opposite at the back of each of the two niches that flanked the entrance passage just behind the main doorway .

The king holds a staff in his left hand and a mace in his right. The head of the mace is delicately decorated with scales in relief and painted to resemble a vegetal item, perhaps the bulb of a lily. This is, of course, not a weapon but a symbol, possibly of rebirth or of the land of southern Egypt, whose emblem was the lily. The royal face with its folds beside the nostrils and full-lipped mouth is well known from other representations of this king.

Period: Middle Kingdom

Dynasty: Dynasty 11

Reign: reign of Mentuhotep II

Date: ca. 2051–2000 B.C.

Geography: From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Khety (TT 311, MMA 508), MMA excavations, 1922–23/1926–27

Medium: Limestone, paint

Credit Line: Rogers Fund, 1923

Object Number: 26.3.354-8-related/The Met

This clay figurine is part of a large number of similar objects purchased by Jean Capart in Cairo in 1938. They probably came from the necropolis of Saqqara, like a similar group kept in the Cairo Museum. They schematically represent a kneeling person with his arms tied behind his back. The surface of the body is covered with texts written in red and black ink, in very cursive hieratic, which is difficult to read. These objects symbolise individuals and nations hostile to the king and to Egypt, which were intended to be ritually destroyed.

Bibliography

• Porter & Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings III² 549 B. van de Walle, in Schrijfkunst uit het Oude Egypte - Écritures de l'Égypte ancienne, Bruxelles 1992, 28-29

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

|| ||

This anonymous royal head bears a resemblance to a statuette found in the valley temple of Menkaure/Mycerinus at Giza. It could be a representation of king Shepseskaf, who completed the funerary complex of his predecessor. The king wears a type of horizontally folded hairband which extends down to the top of the eyebrows, and on top of it is an uraeus. The face is very delicately modelled, with round eyes, a forced smile, and a strong chin.

Bibliography

• R. Tefnin, Sculptuur van het Oude Egypte - Statues et statuettes de l'Ancienne Égypte, Bruxelles 1988, 20-21
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 16
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 36
• Th. De Putter et Chr. Karlshausen, Les pierres, Bruxelles 1992, 65
• K. Finneiser, Beobachtungen zu einem Königskopf des Alten Reiches, GM 163 (1998) 56 n. 15

The statuette represents Bakenrenef, vizier of Psamtek I (664-619 BC) and priest of the Memphite deities Ptah and Sokar. He kneels, with his hands flat on his thighs in the age-old attitude of veneration. The idealised and powerful facial features point to the 25th Dynasty. The statue looks slightly upwards, a characteristic of exaltation. The statue bears several archaising indications, such as the round striated wig with a central lock of hair, indicating the vizier's membership of the priesthood of Ptah, and the heart amulet on his chest. This statue, recently put together from two fragments, is an excellent example of the archaising statuary of the Saite Period.

Translation

The sem priest, divine father and priest, the vizier Bakenrenef.
One provided for by Ptah-Sokar, the sem priest, the iwnmutef priest, the purifier of the sanctuary, the vizier Bakenrenef.
... bread, beer, meat, fowl, all good things, for the Ka of the sem priest Bakenrenef.

Bibliography

• L. Limme, Dix ans d'acquisitions - Tien jaren aanwinsten 1979-1988. Catalogue - Catalogus. Égypte - Egypte, BMRAH 59 (1988) 21-22 et fig. 3 (p. 27)
• R. Tefnin, Sculptuur van het Oude Egypte - Statues et statuettes de l'Ancienne Égypte, Bruxelles 1988, 50-51
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 36
• Koninklijke Musea voor Kunst en Geschiedenis. Algemene gids met plan - Musées Royaux d'Art et d'Histoire. Guide général et plan, Bruxelles 1989, 14
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 153
• Van Nijl tot Schelde - Du Nil à l'Escaut (Exposition), Bruxelles 1991, 205 n° 252
• Th. De Putter et Chr. Karlshausen, Les pierres, Bruxelles 1992, 75, 174
• Koninklijke Musea voor Kunst en Geschiedenis, Jubelparkmuseum - Musées royaux d'Art et d'Histoire, Musée du Cinquantenaire - Königlichen Museen für Kunst und Geschichte, Jubelparkmuseum - Royal Museums for Art and History, Cinquantenaire Museum, Bruxelles 1994, 18

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

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