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

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

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

This statue is one of three statues of king Merenptah which were recently found south of Mit Rahina the site of the ancient city of Memphis. The statue depicts the king standing in the company of Mut, the goddess of Thebes, the patron of kingship and the consort of the god Amun-Ra, the king of the gods.

Red granite

New Kingdom, 19th dynasty

Mit Rahina

NMEC National Museum of Egyptian Civilization, Fustat Cairo

The location of the cat mummy is unknown, so we don’t know if it was someone’s pet. Animals sacred to the gods were generally mummified, but mummies of animals kept as pets have also been found in graves.

Organic material, linen

Late Period - Greek Period

Provenance unknown

Cat. 2349/5 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

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

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

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 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

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 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

On either side of the symbol of joining sign is a row of kneeling Asiatic prisoners.

From the body of a chariot recovered from the tomb of Thutmose IV (KV43)

NMEC National Museum of Egyptian Civilization, Fustat Cairo

Funerary equipment of Sennedjem

New Kingdom, 19th dynasty

Tomb of Sennedjem TT1, Deir el-Medina

NMEC National Museum of Egyptian Civilization, Fustat Cairo

AncientArt Falconry at DZP

Detail from wooden Ptolemaic coffin of a woman. Some sources say that the goddess here is Nut and others Isis.

Ptolemaic Period

Provenance Minya, Sharuna (El-Kom El-Ahmar)

BAAM 608

Antiquities Museum of Bibliotheca Alexandrina

The pleated kilt is fastened on the hips with a belt inscribed at the rear and on the buckle with the coronation name of the king, Nebkheperure. The projecting triangular frontal panel of the kilt of the statue with the khat headcloth carries the vertical inscription. 'The perfect god, rich in glory, a king to be proud of, the royal ka of Horakhty, the Osiris, and Lord of the Two Lands, Nebkheperure, made just'.

This is one of two statues that stood guarding the entrance of the burial chamber.

The king is wearing the khat headdress and is shown with black skin, the colour of Nile mud that flooded and gave it fertility every year. Black signified resurrection and the continuity of life.

18th dynasty, from the tomb of Tutankhamun - KV62

JE 60708 = SR 1/2 = Carter 029

Upper floor, gallery 45

Egyptian Museum, Cairo

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 Naophorousor or Naos (Shrine) carrier statue is one of the prominent forms of late-period sculptures that emphasized the owner’s piety and connection to the gods.

This statue depicts the priest Psamtik-Seneb kneeling while carrying the naos of the god Atum, the procreator of all the gods and Lord of Heliopolis.

Limestone

Late Period

From Tanis

NMEC National Museum of Egyptian Civilization, Fustat Cairo

Yuya and Tuya were the parents of Tiy, the Great Royal Wife of Amenhotep III and had the honour of being buried in the Valley of Kings. Their tomb (KV46) was opened by James E. Quibell in 1905 and found with filled sarcophaguses and grave goods up to the ceiling. The tomb was not pristine and it thought that it had been entered on at least two occasions, perhaps three. All small objects of value, such as jewels, metal objects, perfumes and cosmetics, were missing. The thieves, who had also stripped the jewelry from the mummies, had disturbed the eternal sleep of the tomb's owners but their bodies had not been destroyed and their internal organs were found still in the canopic vases.

The Valley of the Kings was the royal Theban necropolis of the New Kingdom (18th-20th dynasties) and it does not only contain royal remains but also those of members of the royal family and important functionaries. These are characterized by the simplicity of the architecture: they are modest in size and without decoration, in design being nothing more than shaft tombs or with one or two descending corridors with steps that lead directly to the burial chamber.

CG51008 - JE95316-SR93 and CG51009 - JE95254

18th dynasty

Egyptian Museum, Cairo

Stela depicts priests carrying the bark of the king, and on the lower register female musicians playing with tambourines.

Limestone

New Kingdom, 19th dynasty

From Abydos

JE 8774

Egyptian Museum, Cairo

From at least the Badarian Period onwards, figurines of women, made of clay, wood, ivory, or stone were included among the funerary equipment. These were often highly stylized and generally emphasized one or more of the sexual characteristics. Until recently these figures were called erroneously "concubine figures" as they were thought to magically act as a sexual partner for the dead man. However, female fertility figures occur in burials of women as well as men. Accordingly, most Egyptologists believe now that the function of the female figurines within the tomb was to guarantee rebirth in the afterlife.

Terracotta

Antiquities Museum of Bibliotheca Alexandrina

A mummy of a woman wrapped in linen bandages and covered with five pieces of cartonnage. The first piece is a mask that covers the face, on which are represented the facial features: the eyes, nose, mouth and ears. Two curls of hair flank the mask and the face is gilded.

Mummy

Cartonnage and linen bandages

From Roman Period

Provenance Deir el-Bersha, Minya

BAAM 615

Antiquities Museum of Bibliotheca Alexandrina

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

The sides of the throne are decorated with a baboon; on the right side, he is holding a cosmetic pot of kohl eyeliner.

A detail of the group statue depicting a nurse and four princes and princesses.

Painted limestone

18th dynasty, no provenance

(JE 98831)

NMEC National Museum of Egyptian Civilization, Fustat Cairo

A statue depicting a man grinding grain that would be used to make bread that was a mainstay of the Egyptian diet.

Wood

Old Kingdom, 6th dynasty

Provenance Saqqara

NMEC National Museum of Egyptian Civilization, 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

Pintura mural de la tumba de un rico contable llamado Nebamun construida alrededor del año 1350 a.C.

This granite statue of Tutankhamun was sculpted of granite and found in Karnak. It shows the king with a lock of hair (the sidelock of youth) at the side of his head and Uraeus, a cobra over his forehead. He is holding the djed pillar, the nekhekh flail and the heka crook; wearing the large pectoral and its counterpoise, all these emblems signify god Khonsu.

As a member of the Theban Triad worshipped at Karnak, Khonsu was the son of the god Amun and the goddess Mut. Khonsu was a moon god whose name means 'the wanderer'. This may relate to the nightly travel of the moon across the sky. Along with Thoth he marked the passage of time.

In addition, he was worshipped as the son of Sobek and Hathor at Kom Ombo, where he was associated with Horus and called Khonsu-Hor.

In art, Khonsu is typically depicted as a mummy with the symbol of childhood, a sidelock of hair, as well as the menat necklace with crook and flail. He has close links to other divine children such as Horus and Shu. He is sometimes shown wearing an eagle or falcon's head like Horus, with whom he is associated as a protector and healer, adorned with the sun disk and crescent moon.

Granite

18th dynasty

From the Temple of Khonsu at Karnak

(CG 38488)

NMEC 838

NMEC National Museum of Egyptian Civilization, Fustat Cairo

The breast and the shoulders are decorated with a broad falcon collar comprising several rows of mainly floral elements. The parts on the shoulders, each with six ornamental rows below a falcon head that is crowned by a uraeus in a solar disc. The figure on the right side was carved in raised relief, the one on the left was executed in sunken relief. Whereas this difference in styles may have been intentionally realized, the variations between a few of six ornamental rows on the right and left shoulders are more likely due to the fact that two different craftsmen worked on either side of the coffin.

Sarcophagus of Ahmose

Limestone

Provenance: Tuna el-Gebel

26th Dynasty

JE 51945, SR 5 12059

Egyptian Museum, Cairo

Marble relief, 100 BC, unknown find-spot

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

.....per guardare la bellissima cupola della Real Chiesa di San Lorenzo, a Torino.

Explore: Aug 26, 2011 #209

Per onorare la vittoria sui francesi nella battaglia di san Quintino, 10 agosto 1557, giorno di San Lorenzo, Emanuele Filiberto e suo cugino, Filippo II di Spagna, promisero di dedicare una chiesa al santo. Il re di Spagna farà costruire una splendida basilixa all'Escorial, mentre il sovrano sabaudo, non potendosi permettere una nuova costruzione, fece ristrutturare una chiesa già presente nell'attuale piazza Castello e la intitola a San Lorenzo.

In questa prima chiesa la Santa Sindone trova la sua prima sistemazione quando viene trasferita da Chambery, ed è proprio in San Lorenzo che il cardinale san Carlo Borromeo potrà venerarla durante il suo pellegrinaggio a Torino. Circa un secolo più tardi, nel 1634, iniziarono i lavori per una nuova chiesa a San Lorenzo. Il progetto iniziale, poi rivisto da Carlo di Castellamonte, era di Ascanio Vittozzi. Ai lavori parteciperà anche l'architetto Guarino Guarini dopo il suo arrivo a Torino. L'inaugurazione della chiesa avvenne nel 1680.

Gli aspetti architettonici della chiesa sono molto rilevanti, nonostante che essa si presenti senza una vera e propria facciata che lasci intuire la presenza di una chiesa. Secondo alcuni la costruzione della facciata avrebbe rovinato l'estetica della piazza, altre versioni insinuano che la facciata non venne mai realizzata per mancanza di fondi. L'interno è illuminato da una cupola centrale, provvista di otto finestroni (numero simbolico nella tradizione cristiana, indica il giorno perfetto, il giorno della vittoria e del ritorno di Cristo, il giorno senza fine, dopo i nostri giorni ciclati sul sette, la settimana), sorretta da colonne ed attraversata da nervature che formano una stella a otto punte. Di particolare pregio e valore è l'altare maggiore, risalente al 1680. Il suo stile particolare lo rende uno dei più importanti dell'italia settentrionale. Sarà proprio l'abate Guarini, nel 1680, a celebrare la messa di inaugurazione della chiesa davanti alla famiglia reale.

Curiosità: per ricordare la vittoria a cui la chiesa è dedicata, ogni giorno alle 17.15 la campana batte 10 rintocchi.

... to watch the beautiful dome of the Royal Church of San Lorenzo, in Turin.

To honor the victory over the French at the battle of St. Quentin, August 10, 1557, day of San Lorenzo, Emanuele Filiberto and his cousin, Philip II of Spain, promised to dedicate a church to the Saint. The King of Spain will build a splendid basilixa at Escorial sabaudo ruler, while not being able to afford a new construction, renovate a church already exists in the current piazza Castello and the title of San Lorenzo.

In this first Church of the Holy Shroud is its first accommodation when it is transferred from Chambery, and in San Lorenzo Cardinal St. Charles Borromeo will venerate it during his pilgrimage in Turin. About a century later, in 1634, began work on a new Church in San Lorenzo. The initial draft, then revised by Carlo di Castellamonte, Ascanio Vittozzi era. The work will be also the architect Guarino Guarini after arriving in Turin. The inauguration of the Church occurred in 1680.

Architectural aspects of the Church are very relevant, although it is present without a proper facade that let perceive the presence of a church. According to some the construction of the facade would have ruined the aesthetics of the square, other versions suggest that the façade was never realized due to lack of funds. The Interior is illuminated by a central dome, with eight Windows (symbolic number in the Christian tradition, is the perfect day, the day of victory and the return of Christ, the day without end, after our days ciclati on seven, the week), supported by columns and crossed by ribs that form an eight-point star. Of particular value and value is the high altar, dating from 1680. His particular style makes it one of the most important of Northern Italy. It will be the Abbot Guarini, in 1680, to celebrate the inauguration of the Church in front of the Royal family.

Trivia: to commemorate the victory in which the Church is dedicated, every day at 17.15 beats 10 Bell Chimes.

Lamassu at the Gate of the Citadel of Sargon II, Dur Sharrukin (Khorsabad), Iraq. 742 – 706 BC, Musée du Louvre, Paris

The necklace of this funerary mask originating from the Roman Period shows seven rows of pictorial motifs. The wig is decorated with geometrical patterns and flower motifs. The top of the mask's head shows the god Khepri, god of the rising sun in the form of the scarab.

Linen, plaster

Greco-Roman Period

Provenance Asyut

S. 14723/1 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

File o Filé (en textos latinos: Philæ, Philae, Filae) era el nombre de una isla situada en el río Nilo, a once kilómetros al sur de Asuán, en Egipto. Fue célebre por los templos erigidos durante los periodos ptolemaico y romano dedicados al culto a la diosa Isis.

La isla de File quedó sumergida en el siglo XX bajo las aguas embalsadas por la presa de Asuán, aunque bajo patrocinio de la Unesco los templos fueron desmontados, trasladados y reconstruidos en el cercano islote de Agilkia.

This wooden box represents a typically Egyptian shrine or naos with its tapering walls.

The naos is covered with a flat lid guarded by a figurine of a mummified falcon, whose head is equipped with a hole in which was, most probably, fixed the feather headdress - a characteristic depiction of Sokar, patron god of the Memphite necropolis, who is often shown in this position on the roof of the tomb of Osiris. Thus, the shrine is associated with the famous Osireion.

Wood

Provenance Gamhoud, Beni Sueif

Roman era, 1st to 2nd cent. AD

BAAM 618

Antiquities Museum of Bibliotheca Alexandrina

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

Statue of the sphinx, which has no history clearly. In the Ptolemaic period, it was common to place small sphinx statues in front of the temples to be used for protection and guarding.

Limestone

Ptolemaic Period

Kom Ombo

NMEC National Museum of Egyptian Civilization, Fustat Cairo

Funerary equipment of Sennedjem

New Kingdom, 19th dynasty

Tomb of Sennedjem TT1, Deir el-Medina

NMEC National Museum of Egyptian Civilization, Fustat Cairo

These schematic models of houses with modelled clay offerings were placed in tombs of the Late First Intermediate Period and the Middle Kingdom to be given to the soul of the deceased. It illustrates the domestic architecture of the time.

Pottery

Middle Kingdom, 12th dynasty

Middle Egypt

NMEC National Museum of Egyptian Civilization, Fustat Cairo

Table games were very much appreciated in ancient Egypt with the most popular being Senet. The game was for two people and played on a rectangular board with the upper surface divided into thirty squares; probably the game consisted of moving tokens around the board following the throw of small battens that corresponded to our modern dice. The lower surface of the board was used for playing the twenty-square game.

Tutankhamun had four senet boards of which the largest was the most lavish. The squares were inlaid with ivory and the board itself rests on a small frame with supports in the form of lion' paws and fitted with runners. The drawer on the short side was found empty and removed from its housing and, as the tokens were missing, it is supposed that they were made from a valuable material and stolen by the tomb thieves. The token shown in the picture belonged to other, less magnificent, boards.

During the New Kingdom, Senet took on a magical-religious value and in the introductory formula in Chapter 17 of the Book of the Dead, it was considered essential that the deceased played a game against an invisible opponent to ensure his survival.

Valley of the Kings, Tutankhamun's tomb KV62

18th dynasty

JE 62059 - SR 1/82 - 580

Egyptian Museum, Cairo

A granite sarcophagus lid of dwarf Djeho was discovered at Saqqara by James Quibell in 1911.

The biography on the sarcophagus's lid tells us that Djeho was a dancer in burial ceremonies connected to the sacred Apis and Memphis bulls.

Djeho shared a tomb with his master Tjaiharpta, which indicates that he belonged to the household of a high official and had a favoured position with his patron.

The profile image of the dwarf depicts the owner at life size, measuring 120 cm. The naked figure of the dwarf is carved on the lid of his sarcophagus and is of superb quality.

From Saqqara

Late Period, 30th dynasty, Reign of Nectanebo II

Egyptian Museum, Cairo

Funerary equipment of Sennedjem

New Kingdom, 19th dynasty

Tomb of Sennedjem TT1, Deir el-Medina

NMEC National Museum of Egyptian Civilization, Fustat Cairo

The crown, the crook and the flail infer that Osiris was a king; the white, shroudlike costume that he is a dead king, for the shroud represents the bandages that were used in mummification. Thy myth of Osiris tells how he once ruled Egypt as king until he was betrayed and murdered by his brother Seth. He died but was resurrected thanks to his wife, Isis, whose love and loyalty made his resurrection possible.

Wood

From Minya

Late Period

BAAM 633

Antiquities Museum of Bibliotheca Alexandrina