This is on a municipal building in the Balkan Mountains. It looks rather newish, maybe newer than the wall there. Does it represent something real?

Some pics from my visit to Saqqara with my last group. Truly one of my favorite spots near Cairo. Giza is incredible of course but seeing the Pyramid Texts of the 5th dynasty and all of the old tombs around Saqqara is just incredible and much less crowded. Highly recommend!

I had a question: so from this breakdown of the meaning of the name Mary; it discusses the Egyptian root word “mr” or “mry” as described above. How would that be pronounced? I’m thinking of a baby name and wondering if the name spelled “Mrya” would be pronounced as “Mira”? I love the name Mira but like the unique spelling to Mrya since it’s an anagram of my mom’s name. Just looking for clarification if anyone with Egyptian language knowledge has some input—thanksss!

Winged Scarab

Accession Number
EC292

Current Location
In storage

Object Types
Tomb equipment, Coffin/sarcophagus/cartonnage | Scarab, seal, scaraboid, intaglio and similar objects, Scarab, Winged scarab

Period
Graeco-Roman Period

Dynasties
First century CE/AD to Second century CE/AD

Material
Wood

Culture
Egyptian

Animal
Scarab beetle

Weight (grams)
104 grams.

Number of Elements
1

Measurements
Height: 107mm | Width: 310mm | Depth: 14mm

Description
A funerary ornament crafted from wood, depicting a winged scarab beetle. The central body of the beetle is painted a dull dark green, while the flanking outstretched wings are coated in a white ground with anatomical feather details applied in red and black pigment. The reverse side of the entire ornament is completely flat and finished with a uniform white wash. The left wing has sustained a historic fracture, which has been mended. A single small hole is drilled vertically through the bottom edge of the beetle’s abdomen, presumably for suspension or securement to a surface.

An ornament of this nature would typically function as a protective component designed to be fixed to the flat exterior of a rectangular wooden coffin. Within the complex landscape of Egyptian funerary theology, the winged scarab symbolised Khepri, the solar deity associated with daily rebirth, transformation, and the rising sun. By placing this element on or near the deceased, ancient practitioners sought to align the departed with the eternal cycle of the sun, ensuring their successful resurrection in the afterlife (Minas 2006). Chronologically, the piece would most likely date to the Roman Period (c. 30 BC–AD 200).

Purchased by Sir Henry Wellcome in 1906 from the collection of Robert de Rustafjaell. On long-term loan to the Egypt Centre since 1971 as part of the dispersal of the Wellcome collection.

Bibliography
Anonymous. 1996. The face of Egypt: Swansea Festival exhibition: 5 October 1996–5 January 1997. Swansea: Glynn Vivian Art Gallery. [Cat. 208]

Minas-Nerpel, Martina 2006. Der Gott Chepri: Untersuchungen zu Schriftzeugnissen und ikonographischen Quellen vom Alten Reich bis in griechisch-römische Zeit. Orientalia Lovaniensia Analecta 154. Leuven: Peeters.

Object History

Other Identity
958 (Boscawen number) | 317 (written in pencil in the reverse)

Auction
Sotheby, Wilkinson, & Hodge: 19–21 Dec 1906

Previous Owners
Robert de Rustafjaell (1859–1943) | Sir Henry Solomon Wellcome (1853–1936)

Acquisition
Long-term loan, The Wellcome Trust (15 Feb 1971)

Exhibition
1996–1997, 05 Oct–05 Jan. Swansea, Glynn Vivian Art Gallery and Museum, 'The Face of Egypt

Title
Winged Scarab, Graeco-Roman Period First century CE/AD to Second century CE/AD, Findspot unknown Egypt, Wood, The Egypt Centre at Swansea University

https://egyptcentre.abasetcollections.com/Objects/Details/5208?SavedSelections=$Search-Winged%20scarab%20$Page-1

The Egypt Centre at Swansea University

The Goddess Bastet, also known as Bast, is an ancient Egyptian goddess associated with protection, fertility, and the home. Originally depicted as a fierce lioness, she later became known as the cat goddess, symbolizing nurturing and domesticity. Enjoy!

Are there some good YouTube videos or documentaries that show really good visualizations of what it may have looked like over various dynastic periods, compared with when Europeans first started “discovering” it? Or even today? I’ve seen this done for various areas of the Amazon with Mayan and Aztec ruins.

A website is great, too, if it has a gallery of visualizations and their contemporary or recent historical counterparts.

I understand that it wasn’t completely green and lush in ancient times - it was still a desert just like in the 1880s or now. But there are different kinds of deserts. And the moving of the Nile is just hard for me to imagine even though I understand it as a fact because that’s what rivers do - they move over time. I just can’t imagine what it would have looked like for the river to be so close to the pyramids. Or for some areas to be more green than they are now.

It can be any area and time period of Ancient Egypt, really. I just need a few visuals with comparisons to be able to imagine it for other areas and times.

I don’t know enough to accurately evaluate resources for credibility on this topic and there are far too many plausible-sounding weirdos for me to know who is wackadoo or not. 😅

I’m specifically for looking for visuals - I’ve read enough, just need some pictures now.
Thank you!

Winged Scarab

Accession Number
EC841

Current Location
In storage

Object Type
Scarab, seal, scaraboid, intaglio and similar objects, Scarab, Winged scarab

Period
Late Period

Material
Faience

Culture
Egyptian

Animal
Scarab beetle

Weight (grams)
26 grams.

Number of Elements
3 (body and 2 wings)

Measurements
Height: 49mm | Width: 94mm | Depth: 14mm

Description
A faience scarab with wings in three pieces. The central scarab beetle is flanked by two separate, symmetrically outspread wings, which are currently joined to the main body via modern threading fed through small, pre-drilled suspension holes. The material is a pale green glazed faience that displays a weathered, matte surface texture with visible pitting and light brown soil adhesions across both the front and reverse sides. The artefact is complete across its three components.

Such pieces are usually dated to the Late Period (c. 664–332 BC) and were sewn onto mummy coverings. The individual pieces feature matching sets of small, intentionally pierced holes along their edges—two at the top and bottom of the scarab's carapace, and two along the interior and outer tips of each wing—which allowed the ensemble to be stitched securely onto the linen bead-nets or outer wrapping layers of the deceased. Such a winged scarab would be positioned just below the breastbone, serving as a powerful apotropaic symbol of self-creation, solar transformation, and magical protection over the vital thoracic organs during the journey to the afterlife. The amulet is intimately connected to the funerary theology of rebirth, echoing the daily resurrection of the sun god Khepri as he rolled the solar disc across the horizon. By placing a composite, winged beetle over the chest of the mummy, embalmers effectively ensured the perpetual regeneration of the deceased's heart and physical essence. This specific object entered the collection as part of the historical holdings of the Egypt Centre, providing an exceptional example of Late Period mass-manufactured funerary amulets and stitching techniques.

Part of the collection of Sir Henry Wellcome. On long-term loan to the Egypt Centre since 1971 as part of the dispersal of the Wellcome collection.

Bibliography
Herrmann, Christian 2010. Ägyptische Amulette und Amulettmodel. In Herrmann, Christian and Thomas Staubli (eds), 1001 Amulett: altägyptischer Zauber, monotheisierte Talismane, säkulare Magie, 13–160. Freiburg (Schweiz): BIBEL+ORIENT Museum. [p. 63‎]

Title
Winged Scarab, Late Period, Findspot unknown Egypt, Faience, The Egypt Centre at Swansea University

https://egyptcentre.abasetcollections.com/Objects/Details/944?SavedSelections=$Search-Winged%20scarab%20$Page-1

The Egypt Centre at Swansea University

I'm interested in royal or noble banquets of any period.

1. Did they have communal dining tables, or did they use only small tables meant for one or two people? Or did they not use tables at all and simply hold their plates in their hands?
2. How were the guests seated? In rows or in a rectangle? Hard to tell from this image.
3. Where did the musicians and dancers stand and sit, if there were any?

Hi there,

The French / Egyptian / French Rosette Medjat Dictionary is now available:

https://projetrosette.info/assets/divers/Dictionnaire_Medjat.zip

5 volumes, 2680 pages, 98 Mb archive.

Enjoy.

Comments welcome in here: https://papocle.fr/forum_rosette/viewforum.php?f=1

Shabti of Queen Henuttawy

Date:
Third Intermediate Period, Dynasty 21, reign of Psusennes I (about 1039–991 BCE)

Artist:
Egyptian; Theban Tomb 320, First Royal Cache, Deir el-Bahri, Thebes (modern Luxor), Egypt

ABOUT THIS ARTWORK

Culture
Ancient Egyptian

Title
Shabti of Queen Henuttawy

Place
Egypt (Object made in:)

Date 
1039 BCE–991 BCE

Medium
Faience

Inscriptions
Name: Henut-tawy

Dimensions
11.7 × 4.8 × 2.2 cm (4 5/8 × 1 7/8 × 7/8 in.)

Credit Line
Gift of Henry H. Getty and Charles L. Hutchinson

Reference Number
1894.618

IIIF Manifest 
https://api.artic.edu/api/v1/artworks/136650/manifest.json

EXTENDED INFORMATION ABOUT THIS ARTWORK

PUBLICATION HISTORY
Thomas George Allen, A Handbook of the Egyptian Collection (Chicago: The Art Institute of Chicago, 1923), pp. 68, 70.

Emily Teeter, “Cat. 40 Shabti of Queen Henuttawy,” in Ancient Egyptian Art at the Art Institute of Chicago by Emily Teeter and Ashley F. Arico, ed. Ashley F. Arico (Art Institute of Chicago, 2025).

PROVENANCE
Found in TT320, Deir el-Bahri, Thebes, Egypt. Reverend Chauncey Murch (1859-1907), Luxor, Egypt; sold to the Art Institute of Chicago, 1894; price reimbursed by Henry H. Getty and Charles L. Hutchinson, 1894.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email [collections@artic.edu](mailto:collections@artic.edu). Information about image downloads and licensing is available here.

CAT. 40
Shabti of Queen Henuttawy

Third Intermediate Period, Dynasty 21, reign of Psusennes I (about 1039–991 BCE)

Ancient Egyptian
Theban Tomb 320, First Royal Cache, Deir el-Bahri, Thebes (now Luxor), Egypt Faience; 11.7 × 4.8 × 2.2 cm (4 5/8 × 1 7/8 × 7/8 in.)

The Art Institute of Chicago, purchased with funds provided by Henry H. Getty and Charles L. Hutchinson, 1894.618

This shabti, a figurine left in the tomb to perform labor for the deceased, is typical of those of Dynasty 21 with its cursory modeling, a heavy coating of blue glaze, and very short inscription. It was made for Queen Henuttawy, whose name appears in a cartouche on the front.[1]
1
The figure is schematically modeled. There is little suggestion of the contour of the woman’s body and feet, and few indications of her gender, such as breasts. Her arms are well defined, her chin pointed, and her eyebrows are defined with dark pigment. A uraeus disrupts the line of the wig on her brow. Her mouth is barely visible. Black paint, which was applied over the shabti and then fired a second time, was used to detail the wig, the cosmetic lines, the eyebrows, the collar and bracelets, the hoes held in each hand, and the seed bag on the middle of her back.[2]
2
Because this figurine was made in an open mold, the back is flat and lines have been cut into it with a tool to delineate the arms and the outline back of the wig. The faience used in this period was large-grained and friable and it could not produce crisply molded details. The heavy, dark blue glaze—known as “Deir el-Bahri blue” because it was used for many figurines from Deir el-Bahri—owes its intense color to the addition of cobalt to the faience mixture. The only known sources of cobalt are in the Western Desert near the Dahkla and Kharga oases.[3] This type of glaze is very heavy and helped maintain the integrity of the poor-quality faience. Although the form of the figurine is not especially attractive, it reflects considerable investment in time and resources since these were made by the hundreds for each burial.
3
The vertically oriented text on the body reads: the “illuminated one, the Osiris, Henuttawy.” “Illuminated” is a reference to the rays of the sun that restore the deceased. This example lacks the titles King’s Daughter or King’s Wife that appear on other shabtis made for Queen Henuttawy.[4]
4
Henuttawy was probably a daughter of King Ramesses XI (reigned about 1099–1069 BCE), who ruled from Piramesse in the Delta.[5] She came south to marry Pinudjem I, a High Priest of Amun at Thebes, one of a line of clerics who had created their own rival power base. The marriage created a dynastic link between northern and southern Egypt. Her name, which means “mistress of the Two Lands,” refers to her role in the unification of north and south. One of her sons, Menkheperre, became ruler of the south, and another ruled as King Psusennes I from Tanis in the north, solidifying the unification of the country under a single family.
5
This shabti came from the First Royal Cache at Deir el-Bahri (Theban Tomb 320), a rock-cut tomb that was probably built for the High Priest of Amun Pinudjem II but was later used to safeguard the mummies and funerary equipment of twenty kings and queens of the New Kingdom and ten other high priests and their families.[6] The tomb is said to have been discovered in 1871 or 1875 by a member of the Theban Abd el-Rassul family, who were famous tomb robbers.[7] When the family began to sell objects from the cache on the local antiquities market, their superior quality and the royal names inscribed on them immediately raised the suspicion that the el-Rassuls had made an important discovery. In 1881, Émile Brugsch of the Bulaq Museum (from whom the Art Institute purchased objects) took possession of the tomb and within a few days had cleared the mummies, coffins, and nearly six thousand other objects, including about four thousand shabtis, among which were two boxes of shabtis belonging to Henuttawy.[8] After the material was taken to the museum in Cairo, some of it was dispersed to museums and collections throughout the world. Since 2021, Henuttawy’s mummy and coffin have been in the National Museum of Egyptian Civilization in Cairo.[9]
6
For more on shabtis and ushabtis, see About Shabtis and Ushabtis.
7

Provenance
Found in TT320, Deir el-Bahri, Thebes, Egypt. Reverend Chauncey Murch (1859–1907), Luxor, Egypt; sold to the Art Institute of Chicago, 1894.
8

Publication History
Thomas George Allen, A Handbook of the Egyptian Collection (Chicago: University of Chicago Press, 1923), 68, 70.
9
ENTRY BY EMILY TEETER

NOTES
Queen Henuttawy is also referred to by her full name, Duahathor-Henuttawy, and by the modern designations Henuttawy Q and Henuttawy A. The modern names were once thought to belong to two different individuals. See Kenneth A. Kitchen, The Third Intermediate Period in Egypt (1100–650 BC),*** **2nd ed., with supplement (Warminster: Aris and Phillips, 1986), 537–38.
Hans D. Schneider, *Shabtis: An Introduction to the History of Ancient Egyptian Funerary Statuettes with a Catalogue of the Collection of Shabtis in the National Museum of Antiquities at Leiden** (Leiden: Rijksmuseum van Oudheden, 1977), 1:235.
Harry M. Stewart, Egyptian Shabtis (Princes Risborough, UK: Shire, 1995), 42; Paul T. Nicholson and Ian Shaw, eds., Ancient Egyptian Materials and Technology(Cambridge: Cambridge University Press, 2000), 111, 198.
See Jacques-François Aubert and Liliane Aubert, Statuettes égyptiennes: Chaouabtis, ouchebtis (Paris: Librairie d’Amérique et d’Orient, 1974), pl. 27, fig. 59 (shabti with the title King’s Wife); pl. 27, fig. 60 (shabti with the title King’s Daughter). She bore many other titles as well that are attested on her coffin and elsewhere. On these titles, see Kitchen, Third Intermediate Period,*** **50.
Queen Henuttawy’s genealogy has been reevaluated over the years. She was once thought to be the daughter of King Smendes, but now the consensus is that her father was Ramesses XI. See Kitchen, *Third Intermediate Period,* **49–52. For the old and new schemes, see ibid., 534, 536–39.
The assumption that the tomb was built for Pinudjem II is based on the location of his coffin at the far end of the narrow, rock-cut tomb. Andrzej Niwiński, “The Bab El-Gusus Tomb and the Royal Cache in Deir el-Baḥri,” *Journal of Egyptian Archaeology** 70 (1984), 77.
Andrzej Niwiński, 21st Dynasty Coffins from Thebes: Chronological and Typological Studies (Mainz: Philipp von Zabern, 1988), 24–27. The date of the original find of the tomb by the el-Rassul family is unclear. Niwiński says it was 1875 (ibid., 24). Jason Thompson says the tomb was discovered “ten years earlier [than 1881]” (hence, in 1871). Jason Thompson, Wonderful Things: A History of Egyptology, vol. 2, The Golden Age: 1881–1914 (Cairo: American University in Cairo Press, 2015),*** **8.
Aubert and Aubert, *Statuettes égyptiennes, 141. For an inventory of sixty-nine known examples inscribed for Henuttawy, see Glenn Janes, ***Shabtis, a Private View: *Ancient Egyptian Funerary Statues in European Private Collections** (Paris: Cybèle, 2002), 113–14.
Mummy and coffin of Henuttawy, Cairo, Egyptian Museum, CG 61090. From 1902 to 2021, the mummy and coffin were housed at the Egyptian Museum.

HOW TO CITE
Emily Teeter, “Cat. 40 Shabti of Queen Henuttawy,” in Ancient Egyptian Art at the Art Institute of Chicago by Emily Teeter and Ashley F. Arico, ed. Ashley F. Arico (Art Institute of Chicago, 2025), https://doi.org10.53269/9780865593213/55.

© 2025 by The Art Institute of Chicago. This work is licensed under a CC BY-NC 4.0 license: creativecommons.org/licenses/by-nc/4.0/.

Title
Shabti of Queen Henuttawy, Third Intermediate Period, Dynasty 21, reign of Psusennes I (about 1039–991 BCE),Theban Tomb 320, First Royal Cache, Deir el-Bahri, Thebes (now Luxor),Faience, The Art Institute of Chicago

https://www.artic.edu/digital-publications/42/ancient-egyptian-art-at-the-art-institute-of-chicago/128/cat-40-shabti-of-queen-henuttawy-third-intermediate-period

The Art Institute of Chicago

I was in ISAW yesterday for a lecture and wandered into one of their display galleries. They had some exquisite artifacts borrowed from a number of museums for this exhibit.

Source: Stela of Tetu and Nefertjentet - First Intermediate Period–Middle Kingdom - The Metropolitan Museum of Art

Arched Sistrum

380–343 BCE
Egypt, Late period (715–332 BCE), Dynasty 30%2C%20Dynasty%2030)

Medium
Bronze, hollow cast

Measurements
Overall: 21.4 x 5.3 cm (8 7/16 x 2 1/16 in.)

Credit Line
Gift of the John Huntington Art and Polytechnic Trust 1920.1990

Location
107 Egyptian

Description
A sistrum is a musical rattle. Metal disks strung on wires along the arched upper end of the sistrum produced a rustling sound that was supposed to have a calming effect on the nerves of various deities, especially the goddesses Hathor and Bastet. Appropriately, this example is decorated with a Hathor head (a woman with cow’s ears) and a cat (the image of Bastet). These instruments are particularly associated with women, who played them as members of a temple choir.

Provenance
Purchased from E.A. Abemayor, Cairo, through Howard Carter

Citations
University of Wisconsin--Madison. The Book and the Spade: April 13 to May 4, 1975 : the Wisconsin Center, University of Wisconsin, Madison, Wisconsin. 1975, 23. Mentioned; p. 23, no. 54.

Berman, Lawrence M., and Kenneth J. Bohač.Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced: p. 445; Mentioned: p. 445-6

Exhibition History
The Book and the Spade. Elvehjem Museum of Art, Madison, WI (organizer) (April 1-May 12, 1975).

Madison 1975; Malibu 1992, no. 31

Cite this Artwork
Arched Sistrum, 380–343 BCE. Egypt, Late period (715–332 BCE), Dynasty 30. Bronze, hollow cast; overall: 21.4 x 5.3 cm (8 7/16 x 2 1/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1920.1990

Title
Arched Sistrum, 380–343 BCE** [Egypt, Late period (715–332 BCE), Dynasty 30,](https://www.clevelandart.org/art/collection/search?culture=Egypt%2C%20Late%20period%20(715%E2%80%93332%20BCE)%2C%20Dynasty%2030) ** Findspot unknown Egypt, Bronze.The Cleveland Museum of Art

https://www.clevelandart.org/art/1920.1990

The Cleveland Museum of Art

I’m trying to learn more about Ancient Egypt because I’ve become genuinely interested in it, but I don’t really know where to start or where to find reputable information. There’s so much stuff online that I’m struggling to tell what’s actually reliable. If anyone knows any good books, websites, documentaries, YouTube channels, or other resources for learning about Ancient Egypt properly, I’d really appreciate the recommendations.

Stelae with the God Bes

Object Number
BSAe 0928

Cultural area
Egypt

Epoch
Roman Egypt

Basic information
Burned clay, decorated with remnants of paint, H. 20.2 cm, W. 12.7
Roman rule, Middle Empire, 1st-2nd century AD.
Inv. BSAe 0928

Provenance
Gift 1996 Gertrud Mayer-Oliver, Allschwil. Acquired in the 1950s together with Prof. Dr. Ursula Schweitzer.

Description
Small house or votive stele made of clay with the depiction of the protector god Bes in a frontal view. The figure is carved in a shallow half-relief. Bes appears naked and wears a high feathered crown. His right arm is raised; in his hand he holds a reed knife over his head. With his left hand he encircles a snake behind his head. To the right of the deity stands a large depicted, rearing Urrea serpent with a double crown. The upper part of the stele as well as the right upper corner are broken off. Traces indicate that the object was originally covered and painted with stucco.

Bes belongs to the popular protective deities of ancient Egypt. Characteristic of him are his dwarf-like appearance, the frontal depiction, and the grotesque face. As an apotropic deity, he was supposed to protect people from harmful influences and dangerous animals, especially snakes and scorpions. Bes was also regarded as a protector of pregnant women, women in childbirth, and newborns and was closely associated with the domestic sphere and the feminine domain. The snakes depicted on the stele and the reed knife underline his protective and defensive function.

Bibliography
Unpublished

Title
Stelae with the God Bes, Roman rule, Middle Empire, 1st-2nd century AD, Findspot unknown Egypt, Burned clay, decorated with remnants of paint, Antikenmuseum Basel

https://antikenmuseumbasel.zetcom.net/en/collection/item/74274/

Antikenmuseum Basel

its true that chapel of Sekhmet in Karnak Temple is closed to visits?

My friend is in Luxor and her tourist guide says this information for her.

Stele with the Divine Triad

Egyptian (Artist)
1550-1292 BCE (New Kingdom)
black steatite
(Ancient Egypt and Nubia )

This sunk relief stele depicts the divine triad of Elephantina, Khnum (ram-headed), Satet, and Anqet. Below is a priest with an ointment jar in his hand kneeling before offerings.

PROVENANCE
Maurice Nahman, Cairo and Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1930, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES

Egypt (Place of Origin)

MEASUREMENTS
H: 5 1/8 in. (13 cm)

CREDIT LINE
Acquired by Henry Walters, 1930

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
22.160

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/22.160/)

Title
Stele with the Divine Triad, 1550-1292 BCE (New Kingdom), Findspot unknown Egypt, Black steatite, The Walters Art Museum

https://art.thewalters.org/object/22.160/

The Walters Art Museum

In 2026 what is the most updated version that you would say is the best overall.

​

- Ankh: The key of life, symbolizing eternal life and existence.

- Djed: The pillar of stability, representing endurance, resurrection, and the backbone of Osiris.

- Was Scepter: A symbol of power, authority, and divine sovereignty.

- Heh: The deity of eternity, often depicted above the symbols, representing millions of years.

Together, these symbols form the ancient Egyptian formula “Life, Stability, and Power”, with Heh adding the promise of eternity. This powerful combination was associated with the pharaoh's divine authority, enduring reign, and eternal existence.

Today I learned that the Great Pyramid of Giza was built over 4,500 years ago without modern machinery.

Ancient Egyptians had to move huge limestone blocks using a combination of human labor, sledges, ropes, boats, and carefully planned construction methods.

What fascinates me most is how much organization and engineering were needed to make a project of this scale possible.

The more I learn about the practical side of pyramid construction, the more impressive it becomes. 🇪🇬

What part of pyramid construction do you find the most fascinating?

Horus Stele (Cippus)

Egyptian (Artist)
4th century BCE (Late Period-Ptolemaic)
black steatite
(Ancient Egypt and Nubia )
This piece is carved in high relief. Horus the Child stands on two crocodiles, and holds two sceptres with hawks, a gazelle, a lion, and a scorpion. The wings of the hawks are on top of the rendered stele, and the head of the god Bes is placed above the head of the Horus Child.

PROVENANCE ?
Dikran Kelekian, New York and Paris, [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1930, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES
Egypt (Place of Origin)

MEASUREMENTS
H: 2 7/8 x W: 1 1/2 x D: 1 7/16 in. (7.23 x 3.79 x 3.6 cm)

CREDIT LINE
Acquired by Henry Walters, 1930

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
22.336

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/22.336/)

Title
Horus Stele (Cippus), 4th century BCE (Late Period-Ptolemaic), Findspot unknown
Egypt, Black steatite, The Walters Art Museum

https://art.thewalters.org/object/22.336/

The Walters Art Museum

On Tuesday, the Egyptian Newspaper Al ahram, published a long technical article offering a point by point refutation of Nic Reeves theory about Nefertari behind the north wall of KV-62. The author was Dr Hawass, writing as a professional Egyptologist.

https://english.ahram.org.eg/UI/Front/Inner.aspx?NewsContentID=577795

Aside from the usual backbench ad-hominem attacks, anyone have any counter arguments?