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The upper part of the coffin is decorated with a funerary mask. The chest area is adorned with a seven-row pectoral composed of floral and geometrical motifs. On both sides of the coffin, there is a representation of Agathodaimon, the benevolent and good-hearted spirit, who takes the shape of a snake and whose head is surmounted by the Double Crown of Upper and Lower Egypt.
Wooden coffin from the Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
Bread was an essential part of the diet of the ancient Egyptians. It was usually made from emmer wheat, though barley could also be used. This statue depicts a woman protecting her face with her hand from the oven's heat while baking bread.
Limestone
Old Kingdom, late 4th dynasty
Provenance Giza
NMEC National Museum of Egyptian Civilization, Cairo
In this colossal statue, king Akhenaten is depicted in the typical style of the Amarna Period, with narrow slanting eyes, a long thin face, and thick lips.
A group of colossal statues of King Akhenaten (Amenhotep IV) are found in the Temple of the Aten at Karnak. These statues may represent the first time that Akhenaten’s new religious thoughts were translated into ancient Egyptian art and architecture.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
La torre del campanile, costruito su di un'antica torre di origine longobarda, in stile romanico; è diviso in tre ordini di loggette e provvisto di cella campanaria con tanto di cuspide che a causa di terremoti che flagellarono la città in epoca tardo-medievale venne rifatta più volte. Costruito nel XII secolo, l'aspetto attuale risale al 1576; raggiunge un'altezza totale di 67 metri ed è uno dei più bei campanili d'Italia.
(fonte: Wikipedia)
The bell tower, built on an ancient tower of Lombard origin, in Romanesque style, is divided into three orders of loggias and fitted complete with a belfry spire that due to earthquakes that afflict the city in late-medieval was rebuilt several times. Built in the twelfth century, the present appearance dates back to 1576, reaching a total height of 67 meters and is one of the most beautiful bell towers of Italy.
(source: Wikipedia)
French coins always have cool designs and this is a good example. These coins, however, are not made out of silver. They are copper-nickel. Many of these coins have a B mint mark for the Beaumont mint. If you can find a coin dated 1958 without a B mint mark, as this one is, it is rare.
Obverse : Laureate Bust of Marianne, facing right with flaming torch on right hand; "REPUBLIQUE FRANÇAISE".
Reverse : 100 FRANCS in two lines at left (date) with cornucopia at left and wing at right, ears and olive branches below right, R.COCHET; "LIBERTE-EGALITE-FRATERNITE".
Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, and a portrayal of the Goddess of Liberty.
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This painted wooden door is decorated on both sides. It sealed the innermost chamber of Sennedjem's tomb.
On the external face on a yellow background is a scene in two registers, with a hieroglyph representing the sky at the top.
In the upper register, Sennedjem, his wife Iyneferty and his daughter Irunefer are standing before Osiris and the goddess of justice Maat, to whom they are paying respectful homage.
In the lower register, the sons of Sennedjem are portrayed in the same pose before Ptah-Sokar-Osiris and Isis. Sennedjem and his eldest son have their hands raised in an act of adoration. The two women hold a vase with a long neck while the other six sons each hold a lotus flower with a long stem.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sasanian floor mosaic from the Iwan of the palace of Shapur I, Bishapur, Iran, c. 260 AD. Musée du Louvre, Paris.
A small Aedicula with a painted bust of a young athlete in the age of gymnasium phase, depicted with the features and style of mummy-portraits, with a writing board and pen beside him. The heavy hair is curled and falling on the shoulders, diademed in a victory ribbon around the head and the portrait put inside a laurel wreath. The roof decorated with the athletic tools like the Strigil for the cleaning of the body and Arybaios vase which used for keeping the oil.
Wood
Roman period
Fayum
CG 33269
Egyptian Museum, Cairo
On Ibi's feet, the sky-goddess Nut spreads her wings, holding an ankh-symbol in her hands, that Ibi may be reborn every morning like the sun on the horizon.
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Wooden statue of a woman found from the same mastaba as the famous wooden statue of Kaaper, commonly known as Sheikh el-Beled, who was an ancient Egyptian scribe and priest, lived between the late 4th Dynasty and the early 5th Dynasty.
This statue is of commonly considered as Kaaper's wife.
From Mastaba C8 at Saqqara
Old Kingdom, 5th dynasty
CG 33
Egyptian Museum, Cairo
Funerary papyrus, Book of Dead of Maiherpri
New Kingdom, 18th Dynasty, reign of Thutmose III
From Maiherpri's tomb KV36, Valley of the Kings, Thebes
CG 24095b - JE 33844
Egyptian Museum, Cairo
Princess Ashayt holding lotus in her left hand and Ankh sign in the right. Princess Ashayt was one of the wives of king Montuhotep II, the founder of the 11th dynasty. She held many titles such as the king's beloved wife and priestess of Hathor.
Painted limestone
Middle Kingdom, 11th dynasty
Deir El-Bahri, Temple of Montuhotep-Nebhepetre
TR 11/11/20/17
Egyptian Museum, Cairo
The face of the anthropoid coffin is finely modelled wearing a headdress and framed by large ears and a wig with long lines to indicate hair.
Parts of the lid were discovered shattered into pieces at the time of excavation, probably the result of prior illegal digging. The damage has been partially restored by conservators but some parts are lost. Aside from the missing parts on the central area of the lid, the face, the right shoulder, and right foot end have suffered severe damage.
Sarcophagus of Ahmose
Limestone
Provenance: Tuna el-Gebel
26th Dynasty
JE 51945, SR 5 12059
Egyptian Museum, Cairo
The wooden anthropoid coffin of a man called "Aba son of Ankh Hor", ruler and governor of Upper Egypt and the Head of the treasury.
The goddess Isis with wide-spread wings is portrayed on the feet of the Aba's anthropoid coffin to offer protection to the deceased.
Organic material, sycamore wood
Late Period, 26th Dynasty, Saite Period
Provenance Upper Egypt, Luxor (Thebes), West Bank, Qurna
BAAM 829
Antiquities Museum of Bibliotheca Alexandrina
Two "early" cartouches of Aten. On the left, it reads "The living Re-Horakhty, Rejoicing in the horizon" while that on the right reads "In his name as Shu, who is in the Aten".
Terracotta
Luxor
New Kingdom
BAAM 1058
Antiquities Museum of Bibliotheca Alexandrina
This piece of the mosaic was discovered in the al-Shatby quarter in 1892 and was used as a floor in the banqueting room (Triclinium) of a rich man's house in ancient Alexandria. This floor was decorated with floral motifs made of large pieces of coloured marble. It is one of the oldest known mosaic pieces in Egypt.
Marble
Ptolemaic Period
2nd century BC
Alexandria
NMEC National Museum of Egyptian Civilization, Fustat Cairo
- Amulet in the form of a winged scarab
From the 25th dynasty onwards scarab-with-wings amulets were very common. These were almost exclusively made of bright-blue-glazed compositions and were moulded with a flat underside. They were pierced with holes around the edge so that they would be stitched over the chest on the mummy wrappings or incorporated with the bead nest which enveloped contemporary mummies.
A scarab-shaped amulet offered the dead hope for new life and resurrection. These magical properties could be enhanced even further by the inscriptions, motifs or pictorial presentations, sometimes added to the flat underside.
Faience
Late Period
BAAM 434
- Amulet in the form of the eye of Horus (Udjat)
(in the shape of a right udjat)
The udjat amulet first appeared in the later Old Kingdom and continued to be produced until the Roman Period. It is the best known of all protective amulets and was found in greater numbers on mummies than any other amulets. It could also be worn in life. The udjat ( the sound one) refers to the eye of Horus the Elder, the celestial falcon and great creator god whose right eye was the sun and left eye the moon.
At its most basic shape, the udjat is a human eye with an eyebrow, but beneath the eye, it has a drop and a curl to imitate the markings on the head of the lanner falcon.
Faience
Late Period
BAAM 1071
- Heart-shaped amulet
An amulet in the shape of a heart surmounted by a suspension loop. For the Egyptians, the heart was the most essential of organs, not because it pumped blood around the body (it is unclear whether they understood this function), but because they believed it was the seat of intelligence, the originator of all feelings and actions, the storehouse of memory and consequently the source of an individual's identity. This is why it was the heart that was weighed in the balance of the underworld to determine if its owner was worthy to enter the Egyptian paradise or not.
Heart amulets of a New Kingdom date are still relatively rare. Two of the earliest securely dated non-royal examples come from the burial of Akenaten's vizier Aper-el at Saqqara.
The heart amulet became one of the most important of all amulets and was set on every mummy until the end of the Pharaonic Period, often in numbers and usually on the upper torso. They appear in a wide variety of materials, the most common of which are carnelian, basalt, hematite, and glazed compositions. The heart depicted as an amulet is usually identified as the bull's heart rather than the human type.
Faience
Greco-Roman Period
BAAM 218
Antiquities Museum of Bibliotheca Alexandrina
Amulets of Taweret (Apet)
Taweret was the ancient Egyptian goddess of maternity and childbirth, protector of women and children
Faience, Late Period, Provenance unknown
From left: BAAM 1121, BAAM 1131, BAAM 1132
Antiquities Museum of Bibliotheca Alexandrina
Limestone
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Funerary papyrus, Book of Dead of Maiherpri
New Kingdom, 18th Dynasty, reign of Thutmose III
From Maiherpri's tomb KV36, Valley of the Kings, Thebes
CG 24095b - JE 33844
Egyptian Museum, Cairo
Los pintores de vasijas del Clásico maya eran muy hábiles, pues a sus conocimientos de la cocción de la cerámica se aunaban los de la cosmogonÃa y la historia del pueblo maya. En las vasijas de cerámica de tipo códice se relatan muy distintos hechos y en varias se pintaron fechas del sistema calendárico maya. En el llamado Vaso de los Siete Dioses, el pintor dibujó a los dioses que están relacionados con la creación del mundo, en la fecha 4 ajaw 8 kumk’u (8 de septiembre de 3114 a.C.).
Fragment of wrapping bearing hieroglyphic inscriptions
Linen
Antiquities Museum of Bibliotheca Alexandrina
The term shabti derives from the ancient Egyptian meaning 'answerer', and refer to the moment when the deceased is called upon to perform hard labour in the fields of the underworld. The statuettes were considered to be substitutes for the deceased.
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
This tent was made between 1046-1037 BC for the funerary purification of Isetemkheb II who was the daughter of the army general and High priest of Amun Masaherta and the chantress of Amun Tayuheret and the granddaughter of the king Pinudjem I of the 21st dynasty.
Noteworthy, Isetemkheb II held the title of "the superior of the Harem of Min, Horus and Isis at Ipu (Akhmim)" and was one of several princesses who bore this name in the family.
Although the coffin of Isetemkheb II has not been discovered yet, the coffin of her cousin Princess Isetemkheb IV the superior of the chantresses of Amun and wife of king Pinudjem II was discovered in the Deir el-Bahri cache and displayed in the baldachin now.
Painted red, green and yellow leather
Deir el-Bahri Cache (TT 320)
21st dynasty
Reign of Pinudjem I
(JE 26276)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The sarcophagus has a polished surface carved in a fine sunken relief, providing many details in each figure. On the surface of the relief, unpolished parts appear in a whitish shade on greywacke, so the relief stands out against the black background. The face is rather flat and round and has a beard with a detailed interior structure; the chin rests on the chest. Calves are merely indicated, the foot is vaulted and has a rounded plinth.
The decoration consists of eight scenes on the front, foot and plinth of the lid and is separated from the face and wig by a pt-hieroglyph with 29 stars inside.
The top register is formed by a winged protective goddess, below are the three forms of the sun god. The other elements are Isis and Nephthys on the left and right side, the ba-bird, usually hovering over the mummy, here on top of the text, the protective deities, and the jackal gods at the foot.
Material Greywacke
Date Ptolemaic Period
Provenance Saqqara
(AUC Press Archaeological Reports edited by Christian Leitz, Zeinab Mahrous, Tarek Tawfik 'A Selection of Ptolemaic Anthropoid Sarcophagi in Cairo')
TR 3 / 3 21 / 1
Egyptian Museum, Cairo
This shabti shows the king wearing a blue and gold striped nemes, with two flaps at the front and a uraeus. Tutankhamun holds a heqa sceptre and a flail. His thin face has slightly raised black eyebrows, almond-shaped eyes painted black and white, a small nose and a wide mouth with full lips. A usekh collar hangs around his neck. Six columns of hieroglyphs with Chapter 6 of the Book of the Dead cover the lower part of the statuette.
The term shabti derives from the ancient Egyptian meaning 'answerer', and refer to the moment when the deceased is called upon to perform hard labour in the fields of the underworld. The statuettes were considered to be substitutes for the deceased.
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Wood, gold, bronze, height 48 cm
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 60828
Egyptian Museum, Cairo
Granodiorite
New Kindom, 18th dynasty, reign of Amenhotep III
Thebes
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
I can't find any info for this fragment, but the style and facial features point to the Amarna period.
The Metropolitan Museum of Art has a very similar, a little bigger piece with the text: 'A talatat depicting Nefertiti making offerings beneath the rays of Aten' The block was probably from the Mansion of the Benben at Karnak.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Tepemankh bore the titles of "Vizier" and "Chief Justice". He was contemporaneous with either King Unas or Pepi II. At that time, the vizier was appointed by the Pharaoh as the head of Egypt's mighty administrative system. Egypt had effectively been run by a class of educated civil servants, who reported to the vizier. The depiction of the elite as a scribe was one of the finest art poses and prestigious occupations in ancient Egypt.
Pink granite
Old Kingdom, 5th or 6th dynasty
Provenance Saqqara, Tomb D10, north of the Step Pyramid
BAAM 1322
Antiquities Museum of Bibliotheca Alexandrina
The stairs towards the Museum exit. The intricate design and the gradual elevation -- still gives one that overwhelming feeling exiting the building. Shot taken from the souvenir shop level of the museum. After a few hours circling the museum and the apostolic palace, finally, went to stairs. I think anyone will be too tired to get enough of this museum.
Vatican Museum
Vatican City
Rome, Italy
Block statue of a priest called Djed Khonsu Iou.ef Ankh seated in a squatting position and holding in his hands symbols of power and wealth. Six lines in relief cover the statue with the names and titles of the owner and his ancestors and prayers to the gods, and the back of the statue is also covered with hieroglyphic inscriptions. The priest wears a wig and appears serene. The base of the statue is covered with inscription offerings to the god Amun-Ra. The statue was discovered in the Karnak Cache.
Siltstone
Provenance Karnak Temple, Thebes
26th dynasty, reign of Psamtek I
BAAM 597
Antiquities Museum of Bibliotheka Alexandrina
The ba is an aspect of a person's non-physical being. After death, the ba was able to travel out from the tomb, but it had to periodically return to the tomb and be reunited with the mummy. The ba was usually represented as a bird with a human head, and sometimes with human arms.
Faience
Late Period
Provenance unknown
BAAM 1123
Antiquities Museum of Bibliotheca Alexandrina
The hypocephalus, or headrest was most commonly used during the Greek Period. A round disc that symbolizes the solar disc or the iris of the nedjat eye was placed under the head of the mummy to bring protection in the afterlife. The headrest symbolizes the universe: the upside-down parts on the lower half depict the land of the dead, and the upper half is the world on earth and the heavens. The lowest region referring to the most secret parts of the underworld contains passages from spell number 162 in the Book of the Dead, that makes flames appear from under the head of a blissful akh soul.
Linen, stucco
Greek Period
Provenance unknown
Cat. 2323 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
The Senet is one of the oldest and most popular games among the Egyptians until the end of the Greco-Roman Period. It also had its religious symbolism through which the player could overcome the obstacles he faces in the other world which is very similar to the game "The Ladder and Serpent" in our modern age.
Faience
New Kingdom, 19th dynasty
Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Upon his arrival from the other world, the sun god purifies himself in the eastern horizon before his shining in Heaven, where the four gods Horus, the Lord of the North, Seth, the Lord of the South, Dewen-anwy, the Lord of the east, and Thoth, the Lord of the West, pour the water of life and power over him from the four corners of the universe.
This rare statue depicts king Amenhotep II, assimilated with the sun god in his shining in the moment of his purification on the horizon.
Alabaster
New Kingdom, 18th dynasty
Valley of the Kings, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Neferkare Shabaka or Shabako was the third Kushite pharaoh of the 25th Dynasty of Egypt, who reigned from 705 to 690 BC. The Nubians living in the south were under Egypt for a long time, but during the 25th dynasty, they conquered almost all of Egypt. The Nubians embraced the worship of Ammon and described themselves in the traditional style as pharaohs.
Steatite
25th dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The text of this ostracon is written in demotic letters. It is a form developed from hieroglyphics and hieratic, which differs so much from the previous ones that few Egyptologists can read. Ostracon refers to a piece of stone or pot that has been used as a writing pad.
Clay
Greco-Roman Period
From Gebelein
Cat. 14348 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Senenmut served as a close advisor and architect for the ruler, Hatshepsut. He was trusted enough to be the tutor of Hatshepsut's daughter, Neferura, who is shown with Senenmut in this statue. Senenmut designed and oversaw the construction of Hatshepsut's memorial temple at Deir el-Bahri and other buildings in Karnak temple.
Granite
18th dynasty
Karnak temple
(JE 36923 & CG 42116)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The protective goddesses Wadjet, one of the first Egyptian deities and Nekhbet, the vulture goddess.
Statues of the protective goddesses were found in the tomb of King Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo