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Our exhibit is about Pyramids and Pharaohs. Pharaohs are kings of Egypt. They make tons of decisions that change the country. If their decision is selfish for the country, the Viziers would correct them. Pyramids were built as tombs for the pharaohs and their consorts. The pyramids were filled with things each pharaoh would need in the next world. The most famous pyramid is the Great Pyramid of Giza. Pharaohs and pyramids are important because they represent Egypt.

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Our museum is presenting the god of death and mummification. The pictures we are presenting will be of him. He is the son of Osiris and Nephthys. His name is Anubis! He was important because he invented the art of embalming (mummifying).  When someone dies, Anubis will weigh their heart to see if they are worthy. No one knows what he actually looked like so in this museum there will be statues of what the Egyptians believed of him. Anubis is thought of as a jackal because jackals represent death.

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This picture is a photograph of The Pyramid of Djoser taken by Kenneth Ghiarrett. The pyramid of Djoser was the first step-pyramid. It was built in 2648 BCE. It is in the Saqqara Necropolis. The pyramid is 62.5 meters tall, has a base area of 109 meters × 121 meters, and is made of white limestone.

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Djoser step Pyramid - Kenneth Garrett - Google Arts & Culture

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Farm life with background view of Djoser step pyramid in Saqqara

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Anubis is carved and painted into a statue. In his human form, he is wearing a jackal head, a long wig, and lots of jewelry. He is the god of mummification and the dead, and greets and protects the afterlife.

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Statuette of Anubis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Our exhibit shows an important god from ancient Egypt, Anubis. Anubis is a jackal–headed god of the dead, the embalming process, and protector of necropolises. He was also called Anpu. He had the position of the lord of the dead. When someone dies, they go through a process to determine if they were good or bad. Part of that process was weighing your heart against the feather of Maat which was done by Anubis. Jackals were associated with death because they lurk around cemeteries so Anubis was the patron god of jackals. He was also the patron god of jackals because the Egyptians wanted to protect the dead from being devoured. There are statues and illustrations of Anubis in our exhibit.

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Our exhibit shows the importance of the woman pharaoh Hatshepsut. She was one of the first women pharaohs long before Cleopatra. She was an important figure in Egyptian history because she influenced the progress of Lower and Upper Egypt by building temples in her name. Ruling from 1479-1458 BCE, she changed the way we see Egypt today. Though some didn’t like her for her gender, and in fact did destroy some of her belongings (like statues) after her death, she did break the gender gap in ancient Egypt. 3000 years later, we still remember her accomplishments. In this exhibit, we will show statues and other sculptures related to the great rule of Hatshepsut.

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This statue of Anubis is from the Metropolitan Museum of Art. He is displayed greeting a person in the afterlife and protecting him. He is a jackal headed human wearing a wig for this statue. Anubis is also wearing jewelry and a garment which has a feather pattern. It was constructed somewhere between 332 to 330 BCE.

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Statuette of Anubis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Our exhibit shows the importance of the Egyptian gods and goddess, Isis, Anubis, and Horus, as well as their symbols through artifacts made during the Roman and Egyptian empires. Isis is the goddess of magic, and her symbol provided protection for Egyptians trying to pass on to the afterlife. It was called a Tit. Anubis is the god of the dead, and his symbol is a jackal, which is also his sacred animal. Because of this, he is often portrayed with the head of a jackal. Horus is the protector of pharaohs and the god of battle. His symbol is the Eye of Horus. This represents his eye which was taken out in battle. All of these gods and goddesses were important to the ancient Egyptians, and they honored them with temples and shrines, as well as with myths and legends.

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This illustration is from the Book of the Dead of Hunefer. The illustration shows Anubis holding Hunefer’s mummy while Hunefer’s wife and daughter mourn. Priests are performing rituals like the Opening of the Mouth ritual. There was another ritual where the leg of a calf was cut off and offered. The calf is then sacrificed.

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This is an excellent example of one of the many fine vignettes (illustrations) from the Book of the Dead of Hunefer.The centrepiece of the upper scene is the mummy of Hunefer, shown supported by the god Anubis (or a priest wearing a jackal mask). Hunefer's wife and daughter mourn, and three priests perform rituals. The two priests with white sashes are carrying out the Opening of the Mouth ritual. The white building at the right is a representation of the tomb, complete with portal doorway and small pyramid. Both these features can be seen in real tombs of this date from Thebes. To the left of the tomb is a picture of the stela which would have stood to one side of the tomb entrance. Following the normal conventions of Egyptian art, it is shown much larger than normal size, in order that its content (the deceased worshipping Osiris, together with a standard offering formula) is absolutely legible.At the right of the lower scene is a table bearing the various implements needed for the Opening of the Mouth ritual. At the left is shown a ritual, where the foreleg of a calf, cut off while the animal is alive, is offered. The animal was then sacrificed. The calf is shown together with its mother, who might be interpreted as showing signs of distress.

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Page from the Book of the Dead of Hunefer - Google Arts & Culture

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This is an excellent example of one of the many fine vignettes (illustrations) from the Book of the Dead of Hunefer.The centrepiece of the upper scene is the mummy of Hunefer, shown supported by the god Anubis (or a priest wearing a jackal mask). Hunefer's wife and daughter mourn, and three priests perform rituals.

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This is Hatshepsut, the woman pharaoh, wearing a fake beard. Pharaohs wore fake beards to establish connection to the gods (it’s just their belief). Even women wore them. This was made in around 1479-1458 BCE which was the time period of Hatshepsut’s rule.

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Hatshepsut in a Devotional Attitude - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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The illustration by Lancelot Crane shows the king with Anubis. The original object that was painted in this picture was probably created between 1323-1295 BCE. The king, Haremhab, and Anubis are in the Tomb of Haremhab. Haremhab was one of Egypt’s pharaohs.

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The King with Anubis, Tomb of Haremhab - Lancelot Crane - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Welcome! As you might be able to see, this is a museum! In this museum, you will be seeing many many many items including amulets and statues. These objects of focus are of Isis and Anubis and were used to respect and worship the gods for their protection. Isis is the goddess of magic and a caring mother of Horus. Anubis is the god of death and mummification and is represented by a jackal. These two are like two aspects of life. Isis gave life and Anubis took them away. They are intertwined. Okay . . . maybe we shouldn’t spoil our museum exhibit. Take a look! Hope you enjoy it!

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This exhibit is about hieroglyphics. Hieroglyphics were used by the ancient Egyptians to read and write. In this exhibit you will find some artifacts that will all have hieroglyphics. Most of the objects have something about a ritual like a god or the afterlife. The hieroglyphics show what the ancient Egyptians were saying ;like ritual and other things that they did. In the exhibit you will find the Rosetta stone. This is the stone that helped archeologists and historians decipher the hieroglyphics since it has 3 languages. Next there is the Shabti box. This was used to send the dead people to the afterlife. After that you see a sandal plaque. This told you what they did in that year. Next  you will see a piece of painted wood from the coffin of Satmeket. It had writings about the afterlife and the deceased person. The coffin of Djedhoriufankh is a decorated coffin and near it were some painted walls with hieroglyphics. In all it is just about Hieroglyphics and what the Egyptians were trying to explain.

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This statue was made at around 700 B.C.E and is partly covered with gold leaf. It shows Anubis and the head of a canine because he is the god of the dead. Anubis wears a wig which covers his chest and his wide collar, called a Shendit apron.

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Anubis (?) supporting a large djed pillar - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Hatshepsut is depicted here as a sphinx: a lion with a human’s head. Hatshepsut’s sphinx represented her power and leadership, as lions are very majestic and powerful. This was made in around 1479-1458 BCE. It was one of the six granite sphinxes in Hatshepsut’s mortuary (her funeral home or her graveyard).

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Sphinx of Hatshepsut - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This is a statuette of the Egyptian goddess of magic, Isis, mixed with the persona of the Roman goddess of chance, Fortuna. They are mixed deities, because when the Romans took over Egypt, they adopted some of their gods and goddesses, including Isis, and mixed them with the Roman deities. This version of Isis was called Isis-Fortuna. The way this statuette is portrayed shows both features of Isis and Fortuna. This statuette was created in approximately the 2nd century C.E. in the Roman Empire from bronze.

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The Egyptian goddess Isis was adopted into Roman religion in the first century B.C. She possessed a wide range of powers, including the ability to offer her followers a better afterlife. In Roman religion, she was often merged with other Roman goddesses, creating new composite deities. This statuette portrays Isis combined with Fortuna, a fertility goddess who controlled the fate of both individuals and cities. This statuette has attributes of both goddesses: she wears the elaborate headdress of Isis, a lunar disk between horns or feathers, and the front of her long dress is tied in a knot on her chest, the so-called Isis knot. She also holds the usual attributes of Fortuna: the rudder in her right hand refers to her control over the course of human lives, and the cornucopia in her left arm is a symbol of abundance and prosperity

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Statuette of Isis-Fortuna - Unknown - Google Arts & Culture

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The Egyptian goddess Isis was adopted into Roman religion in the first century B.C. She possessed a wide range of powers, including the ability to offer her followers a better afterlife. In Roman religion, she was often merged with other Roman goddesses, creating new composite deities.

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This is a statue of Hatshepsut’s head. This was made in around 1479-1458 BCE. It is made of limestone and paint. This Osiride statue of herself depicts Hatshepsut as the ruler of Egypt with the Double White Crown of Lower and Upper Egypt. The crown shows Hatshepsut as a powerful and respected pharaoh.

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Head from an Osiride Statue of Hatshepsut - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Our exhibit talks about the gods and goddesses of ancient Egypt. The gods and goddesses are important parts of religion in Egypt. Gods and goddesses are there for almost anything you could imagine in ancient Egypt. You will learn about the goddesses Bastet, the cat goddess, and Isis, the fertility goddess. You will also learn about the gods Anubis, the jackal god, Horus, the falcon god, and Osiris, the god of the netherworld or underworld. Our objects are statues of the gods and goddesses of ancient Egypt. These statues were usually put around the house or with the dead. These gods all represent different things in Egyptian mythology. Some help with the dealings of the living and some with the dead. Some might be more well-known than others, but they are what Egyptian religion is based on and are the building blocks of Egyptian culture.

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This is Anubis laying down as an animal, a jackal, which represents death. He is the god of death, so a jackal is used to represent him. This statue is carved of stone and was found broken in two parts with some other jackals.

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Recumbent Anubis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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The statue of Anubis, a god of mummification, has the head of a jackal and a big wig. He is shown wearing jewelry and clothing with a feather pattern. Anubis is probably shown greeting the dead in the afterlife and protecting them. This statue is very carefully carved and painted in 332-30 B.CE

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Statuette of Anubis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This symbol is called a Tit, and is the symbol of Isis. It is associated with the blood of Isis. It is considered a powerful symbol of protection in the afterlife, and is placed in the Book of Dead, where it specifies that the Tit is made of a blood-red stone. It is placed at the deceased’s neck, where it can help guide them in the afterlife. The reason why it was a knot is because the Egyptians believed that it held magic and released it when it was undone. This was created around 1550 BCE from Jasper.

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Tit (Isis knot) amulet - Google Arts & Culture

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This piece of painted wood from Thebes was from the tomb of Djehutynakht and it was made from the wood on the coffin of Satmeket. It had the funerary spells in cursive hieroglyphics and there was also her name and who she was. Some of the words were put into the drawings. The funerary spells were to send Satmeket to the afterlife; every funerary spell began with “words to be spoken”.

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Painted wood. Third Intermediate Period, Dynasty 21. 1070-945 B.C. Probably from Thebes. Painted wood. Middle Kingdom, Dynasty 12, 1991-1782 B.C. From Deir el-Bersheh, Tomb of Djehutynakht. Three rows of carefully drawn and painted hieroglyphs give the name of the coffin's owner, the lady Satmeket. Columns of cursive hieroglyphs below contain funerary spells, all beginning with the phrase djed medu - "words to be spoken." Briefer spells are also incised in the joints.

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Coffin Panel of Satmeket - Google Arts & Culture

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Painted wood. Third Intermediate Period, Dynasty 21. 1070-945 B.C. Probably from Thebes. Painted wood. Middle Kingdom, Dynasty 12, 1991-1782 B.C. From Deir el-Bersheh, Tomb of Djehutynakht. Three rows of carefully drawn and painted hieroglyphs give the name of the coffin's owner, the lady Satmeket.

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This painting is about Anubis weighing the heart of the deceased that wants to go to the afterlife.  This picture was painted by Nina de Garis Davies (1881–1965). Anubis does this to see if the person is “worthy” enough to pass to the afterlife.

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Anubis Weighing the Heart, Tomb of Nakhtamun - Nina de Garis Davies - Google Arts & Culture

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First things first, we need to tell you to please try and not to get too uncomfortable with her face! Her nephew and co-ruler, Thutmose III, deliberately broke the statue so that he could remove the fact that there was a female pharaoh. Of course, she still lives on today, 3000 years later. It was made in 1479 - 1458 BCE. Anyways, here she is portrayed as a man. It is also made of granite, not limestone like some of the other statues. She doesn’t wear her usual false beard here, meaning that Thutmose probably broke it off so that she wouldn’t be considered a “true pharaoh.”

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Large Seated Statue of Hatshepsut - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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The Sacred Animal Necropolis is a catacomb. That is where they kept the burials of sacred and important animals like cows, falcons, baboons and ibises. In front were shrines attached to their cults. This statue of Anubis was filled in for the Northern Enclosure. The jackal was found in two pieces. Anubis is the god of embalming.

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Recumbent Anubis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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From the beginning of the Egyptian Empire, the kings were considered to be the manifestation of the protectors of pharaohs, Horus. He was depicted as a falcon because it was his sacred animal. The falcon represented divine kingship. There was one in each temple to represent the pharaoh’s relationship to the gods. This statue was created between 305 and 30 BCE from basalt.

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Statue of the God Horus as a Falcon - Egyptian - Google Arts & Culture

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Funerary amulets often looked like gods to protect mummies. Anubis, a god with the head of a jackal, would look over it. He wore the title  ”lord of the hallowed ground” meaning protector of necropolis. Anubis has a major role in the judgement of the dead and kept watch over weighing the heart of Osiris.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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King Zanakht was a pharaoh who went on expeditions. He ruled from 2686 BC to 2613 BC. We know very little about him. This block is one of the two recordings of his expeditions. It spells out the word “mefkhat” meaning turquoise. It is the story of King Zanakht’s expedition to the Turquoise Mines in Wadi Maghara. The Turquoise Mines is named that because The stones were usually copper and turquoise.

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Rock inscription of King Zanakht - Google Arts & Culture

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This relief commemorates an expedition to the turquoise mines at Wadi Maghara in southwest Sinai by Zanakht, a king of the Third Dynasty (2686–2613 BC). Fr...

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This silver item is Anubis sitting atop a shrine, and is in bad condition. The jackal represents Anubis, so it is most- likely him. This amulet was found in a tomb in a place called Abydos, as well as other objects.

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Amulet of Anubis on his Shrine - Google Arts & Culture

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This is the symbol of Horus. This shows everything Horus is. It has a falcon wing, representing the fact that he can turn into a falcon. The eyes are his eyes, which are gold and silver, representing the sun and the moon. This was made near the end of the Egyptian empire out of glazed composition.

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Glazed composition 'wedjat' eye amulet: this openwork composite 'wedjat' eye amulet is pierced from side to side at the centre so that it could be worn. It is made from pale turquoise blue glazed composition, with details in yellow and black glaze and has a flat plain underside. Its basic design is the eye and eyebrow of the lanner falcon, the bird form adopted by the celestial creator god Horus, whose right and left eyes were the sun and moon respectively. However, the drop and curl markings that characterize the eye, and should appear beneath the lower rim, have been transformed into a falcon's leg with foot and a falcon's wing. The area in front of the bird's leg is filled by an upreared cobra wearing a sun disc, its coiled body arching up behind the puffed up hood. At the back of the wing is a papyrus flanked by buds; between the wing and leg is a human eye. The entire design is set on a reed mat, its bindings carefully delineated.

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Faience wedjat eye amulet - Google Arts & Culture

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Glazed composition 'wedjat' eye amulet: this openwork composite 'wedjat' eye amulet is pierced from side to side at the centre so that it could be worn. It is made from pale turquoise blue glazed composition, with details in yellow and black glaze and has a flat plain underside.

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This amulet represents the goddess Isis. She is important because she revived and cares for Osiris. On her head, there is a throne that says her name. She was a model of a caring wife and a protective mother. She is known as the “Great One of Magic.” This statue was from 332–30 B.C.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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The Rosetta Stone is a valuable key to the decipherment of Hieroglyphics. The decree is inscribed on the stone three times, It’s in Hieroglyphics, Demotic, and Greek (three different scripts). After the fourth century AD, when nobody used hieroglyphics, the knowledge of reading and writing hieroglyphics disappeared. When the nineteenth century just started, a scholar named Jean-Francois Champollion and an English physicist called Thomas Young were able to decipher Greek inscriptions. If people were able to read one of the three scripts, then they wou,df know what the others scripts mean because they mean the same thing.

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A valuable key to the decipherment of hieroglyphs, the inscription on the Rosetta Stone is a decree passed by a council of priests. It is one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation.

In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government's control.

Before the Ptolemaic era (that is before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from Pharaonic times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured.

The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense.

Soon after the end of the fourth century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the nineteenth century, some 1400 years later, scholars were able to use the Greek inscription on this stone as the key to decipher them.

Thomas Young, an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy. The French scholar Jean-François Champollion then realized that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture.

Soldiers in Napoleon's army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon's defeat, the stone became the property of the British under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found.

The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important' objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway 50 feet below the ground at Holborn.

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The Rosetta Stone - Google Arts & Culture

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A valuable key to the decipherment of hieroglyphs, the inscription on the Rosetta Stone is a decree passed by a council of priests. It is one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation.

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This is a statue of Hatshepsut kneeling down. This was created in 1479 - 1458 BCE. She is wearing a nemes-headcloth instead of the Double White Crown of Lower and Upper Egypt in Object 3. This statue was used in festivals like the Beautiful Feast of the Valley for representing Amun-Re the sun god in Egyptian mythology (as far as we know).

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Large Kneeling Statue of Hatshepsut - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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This is a figurine of Anubis, the god of the afterlife and mummification. It shows him with a jackal head, which is his sacred animal. This statue is made of bronze between 300 and 700 BCE. Anubis was an important god for the Ancient Egyptians. There were many statues of him in temples across Egypt.

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Figurine of god Anubis - unknown - Google Arts & Culture

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This is a limestone block that was used when people were building The Pyramid of Khufu. Engineers at that time designed the blocks so that it would turn out smooth when the pyramid was finished. People got the limestone blocks from Tura. Tura is southwest of The Pyramid of Khufu.

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The largest pyramids of Egypt were constructed at Giza in the Fourth Dynasty (about 2613-2494 BC), heralding the transformation of Egyptian culture into the system of harmonious proportions that guided craftsmen throughout the following three thousand years.

The three major pyramids of Giza are the tombs of kings Khufu (Greek: Kheops), Khafre (Khephren) and Menkaure (Mycerinus). They were built mainly of limestone quarried on the Giza plateau itself. However, the pyramids of Khufu and Khafre were given a final coating of fine limestone cut to the shape of the blocks, in order that the pyramid would appear smooth-sided rather than stepped. The nearest source of limestone would have been the quarries at Tura near Helwan, travelling the twenty-five kilometre journey along the river by boat. Most of the stone from Tura was quarried off in later times; it is said that the Islamic monuments of Old Cairo were built with stone from Tura.

Only a few large casing blocks survive around the base of the Great Pyramid of Khufu, although there is a considerable area surviving near the apex of the pyramid of Khafre. Menkaure intended to case his pyramid in granite from Aswan, although it is unlikely that it was ever finished.

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Limestone block from the pyramid of Khufu - Google Arts & Culture

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The largest pyramids of Egypt were constructed at Giza in the Fourth Dynasty (about 2613-2494 BC), heralding the transformation of Egyptian culture into the system of harmonious proportions that guided craftsmen throughout the following three thousand years. The three major pyramids of Giza are the tombs of kings Khufu (Greek: Kheops), Khafre (Khephren) and Menkaure (Mycerinus).

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The shabti box is used to honor someone who is dead. For example, Hor, the person who died. On the box, there are five columns of inscription on the long side of the box, and three columns on the short sides. It included the ancestry of Hor and had parts of the Book of the Dead, which guided dead people to the afterlife.

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Shabti box of Hor - Google Arts & Culture

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The lid of this rectangular shabti box is lost. The exterior of the box was prepared to receive paint with a layer of plaster. The decoration consists of c...

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In this artifact, Bastet is represented by a woman with a cat head. Bastet was a less terrible cat than other lion-based goddesses. Some of her other forms are more scary and violent. If you look closely, you will see four kittens sitting at her feet. This is showing that she takes care of babies. She is carrying an Egyptian rattle instrument called a sistrum. This is an instrument that is played during happy occasions. This represents Bastet as a happy goddess.

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Bronze figure of Bastet: this solid cast figure of the goddess Bastet represents her as a woman with cat's head wearing a heavily patterned long garment. Her eyes have gold inlays and her ears are pierced for earrings. Of all the maned lion goddesses who were revered for their ferocity, Bastet alone was later transformed into the less terrible cat. The female cat was particularly noted for her fecundity, and so Bastet was adored as goddess of fertility and, with less obvious logic, of festivity and intoxication. As evidence of her fecundity no less than four kittens sit at her feet. Another perches inside the sistrum or Egyptian rattle, which she carries in her hand to symbolize the other facet of her personality, for it is a musical instrument connected with merrymaking. Originally there were two horizontal rods inside the hoop bearing metal discs intended to make a clashing sound when the instrument was shaken. The face of the goddess Hathor, who was also connected with music, appears on the sistrum's handle. Across her chest Bastet carries an aegis or broad collar, surmounted by a lion goddess' head wearing a sun disc, perhaps representing Bastet herself in her original fierce manifestation. The 'aegis' is probably to be interpreted as the top of the counterpoise to a 'menyet' collar of loosely strung beads, another musical instrument connected with merrymaking; when shaken the beads would clack together. There is a hieroglyphic text around the edges of the plinth, largely eroded or erased.

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Bronze figure of the cat-headed goddess Bastet - Google Arts & Culture

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Bronze figure of Bastet: this solid cast figure of the goddess Bastet represents her as a woman with cat's head wearing a heavily patterned long garment. Her eyes have gold inlays and her ears are pierced for earrings. Of all the maned lion goddesses who were revered for their ferocity, Bastet alone was later transformed into the less terrible cat.

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This object of Isis is wearing a dress with a headgear that had a vulture on which is set a modius of cobras topped with cow horns with a sun disk. This is her normal fashion.

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Inlay depicting the goddess Isis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Sphinxes are an important part in Ancient Egypt. They were important because their statues were used to  guard tombs or temples.  Sphinxes are mythical creatures with human heads, lion body, and falcon wings. The word sphinx comes from sphingein, which means to squeeze or bind, because the sphinx was an evil monster and was strangling the victims. The Great Sphinx of Giza  is one of the biggest and most important ones. It is made of limestone.  Sphinxes are used to represent gods and goddesses. Here are some pictures of sphinx statues and some other items, like an amulet and a fragment of the great sphinx.

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This is a coffin that is highly decorated probably since they were practicing burial for the dead people.. Before, coffins were not decorated and they were plain. There would be drawings and hieroglyphics on the tomb wall. This relates to our museum because there are hieroglyphics on the coffin  explaining about the person and its afterlife.

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Coffins from Thebes of the period around 1000 to 900 BC are very highly decorated, with many small scenes on both the exterior and interior. This is probably due to the burial practice of this period, where many members of a family or priesthood were placed in an undecorated tomb over a long period of time. Elements of decoration that during the preceding New Kingdom (about 1550-1070 BC) would have been placed on tomb walls, were instead incorporated into the coffins.The decoration on the coffin of Djedhoriufankh, painted in red, green, blue and white on a yellow background, is typical: The hieroglyphic labels are placed on a white background so that they stand out. One of the themes is the deceased offering to various deities, in this case including several forms of the sun god. Another common motif for the scenes is the resurrection, symbolized by winged scarabs and winged sun discs. These are derived from the wall paintings of tombs of the New Kingdom (about 1550-1070 BC). Other themes are taken from the funerary papyri of the time, including the creation of the world and the judgement of the deceased (like that from the Book of the Dead of Hunefer).

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Coffin of Djedhoriufankh - Google Arts & Culture

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Coffins from Thebes of the period around 1000 to 900 BC are very highly decorated, with many small scenes on both the exterior and interior. This is probably due to the burial practice of this period, where many members of a family or priesthood were placed in an undecorated tomb over a long period of time.

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This exhibit is about mummies and coffins. Mummies are  a way for the Egyptians to honor the dead.  The dead are given deluxe treatment and protection so that they have a great afterlife. Some objects showing this are the Egyptian Mummy Mask, The  Coffin Lid of Padiamun, Mummy of Nesmin with plant wreath, mummy mask, and other cartonnage elements,  Mummy coffin of Petsis, and the Model barge. They showed that Egyptians also gave the dead many important possessions in their coffin. Mummies are wrapped in linen and wool, and they are the earliest form of preserving dead bodies. They make the coffins bright, colorful, and detailed, making sure that the gods are able to have a connection with the dead in the afterlife. Mummies also had a  variety of spells from the Book of the Dead that decorated them, another way of making mummies prosper in the afterlife. Mummies are an important part of Egyptian culture and are one of the earliest forms of honoring the dead.

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This is the king as a sphinx. This sculpture is made of bronze. The tail which is supposed to be a big loop is gone from the sculpture. This dates to the new kingdom, and the dynasty was XIX dynasty. The hind legs have been fixed.

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The king as sphinx, in bronze, standing on standard, flanked by two uraeus serpents. Sphinx is of slender greyhound type with human head, pierced ears, bearded and wearing lappet wig. Tail curved in great loop over back; originally fitted with headdress, now lost. Remains of gilding on apron. Wings incised on body, a rare detail in the New Kingdom. Condition: Good. Repairs on both hind legs. Uncertain if tail is original. Remains of gilding and perhaps of black-coating on bronze. Deep gash on right cheek.

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Striding Sphinx - Unknown - Google Arts & Culture

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The king as sphinx, in bronze, standing on standard, flanked by two uraeus serpents. Sphinx is of slender greyhound type with human head, pierced ears, bearded and wearing lappet wig. Tail curved in great loop over back; originally fitted with headdress, now lost. Remains of gilding on apron.

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This is a bronze statue of Horus as a Roman soldier. Horus is the symbol of the living pharaoh. He is usually represented with a falcon for a head, if you look closely at this artifact, you will see the falcon head. He is wearing a military costume to represent commandership over the Roman army. Horus is displaying both cultures, he is wearing an Egyptian headdress as well as a Roman emperor’s military armor. This is saying that he is the leader of the Romans.

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In ancient Egypt the god Horus was the divine representation of the living king, commonly shown as a man with the head of a falcon. Images of Horus in Roman military costume expressed the ancient Egyptian god's power by using distinctively Roman symbols of authority. They also served to validate Roman political dominance by clothing the divine manifestation of the ancient Egyptian king in Roman costume. Here Horus wears an ancient Egyptian headdress and military dress worn by the Roman emperor.

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Bronze figure of Horus in Roman military costume - Google Arts & Culture

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In ancient Egypt the god Horus was the divine representation of the living king, commonly shown as a man with the head of a falcon. Images of Horus in Roman military costume expressed the ancient Egyptian god's power by using distinctively Roman symbols of authority.

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This photograph is taken by Alexandra Woods. This shows the Great Pyramid of King Khufu and the Pyramid of King Khafre. They are the largest pyramids in ancient Egypt. The Sphinx sits in front of The Pyramid of Khufu.

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The Giza Plateau, located on the west bank of the river Nile near Cairo is home to iconic Egyptian monuments, including 3 large pyramids built as royal places of burial in Dynasty 4 of the Old Kingdom (c. 2575-c. 2465 BCE). The necropoli of Giza, Ṣaqqārah, Dahshūr, Abū Ruwaysh, and Abū Ṣīr are the burial grounds of the inhabitants of the city of ancient Memphis and were collectively designated a UNESCO World Heritage site in 1979.

The Great Pyramid of king Khufu and the Pyramid of King Khafre are the largest pyramids built in ancient Egypt, and along with the Sphinx, have become key cultural icons of "ancient Egypt" fixed in the Western imagination.

The photograph shows the Pyramid of Khafre with the remains of casing stones at its apex and the Sphinx, a mythical creature with the body of a lion and the head of a human (left), and the Great Pyramid of Khufu (right).

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View of the Pyramids of Khufu and Khafre and the Sphinx - Alexandra Woods - Google Arts & Culture

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The Giza Plateau, located on the west bank of the river Nile near Cairo is home to iconic Egyptian monuments, including 3 large pyramids built as royal places of burial in Dynasty 4 of the Old Kingdom (c. 2575-c. 2465 BCE).

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Hello! We are Zoe and Ria and this is our exhibit about pyramids and a bit of death. Pyramids are like secret tombs for pharaohs and their assistants. The reason why they are so secret is because there is always some secret code or secret doors just to get to the tombs. The reason why they are so protected is because the dead will be in their coffins with their items they owned when they lived, such as pottery, jewels, and money. Our artifacts show what is found inside these mysterious tombs. The artifacts will be the items of the deceased person. Most of them will be statues because many statues are included during a burial. Sometimes these items can show how the deceased lived before they died. The reason why there are so many pyramids in Egypt is because they are tombs for the dead to give them safe passage through the afterlife. The heaven that was expected in ancient Egypt was eternal weed gardening. Not everyone was able to reach this place though.

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This is an ivory plaque label that was part of a sandal. This sandal used to be the kings. This sandal was king den's sandal. The sandal is about what happened in the years like for this one it says that they had a war with the people in the east part of the Mediterranean sea. It also talks about the gods that helped them with the war.

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King Thutmose III is one of the most important pharaohs of Egypt. He wanted to gain more territory. He was one of the most successful generals and he fought seventeen campaigns. Queen Hatshepsut took power when his father died. King Thutmose III was only able to be king after she died.

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Upper part of a Statue of King Thutmose III - Unknown - Google Arts & Culture

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The pharaoh depicted here has been identified as Thutmose III, one of the most important rulers in the history of Ancient Egypt. His father, Thutmose II, d...

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This is a funerary amulet that is in the form of Anubis. Funerary amulets are mostly in the form of gods who protected the mummy. Anubis had the title, “lord of the hallowed ground,” which meant protector of the necropolis. Necropolises are cities of the dead that belonged to an ancient city, like large cemeteries.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Anubis Weighing the Heart, Tomb of Nakhtamun:

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Anubis Weighing the Heart, Tomb of Nakhtamun:

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This picture is a painting of an ancient object that was probably lost, and it was painted by Nina de Garis Davies. The original object was created between 1279 and 1213 BCE, which is in the 19th dynasty of Egypt. In this picture, Anubis is weighing the heart of Nakhtamun against a feather, the symbol of the god Maat, to determine the good and bad features of their life. If the heart balances they would pass on to the afterlife but if the heart is heavier their heart will be devoured by Ammut, a part-crocodile, part-lion, and part-hippopotamus beast.

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Anubis Weighing the Heart, Tomb of Nakhtamun - Nina de Garis Davies - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This is a statue of the goddess Isis. She is in one of her forms called Isis-Aphrodite. She is the goddess who, like Aphrodite, helps with marriage and children being born. This figure was put with dead bodies and around houses. On her head, she is wearing a calathos, which is the crown of Egyptian gods and goddesses that are worshiped by Greeks and Romans but in other forms. On her calathos, she has her symbol which is the disk and horns.

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Figure of Isis-Aphrodite - Unknown - Google Arts & Culture

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Isis-Aphrodite is a form of the great goddess Isis that emphasizes the fertility aspects associated with Aphrodite. She was concerned with marriage and chi...

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The time period of this sphinx was 1479-1458 BC. This was the sphinx of the female pharaoh Hatshepsut. There were six other granite sphinxes that were in the temple Deir-el-Bahri.

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Sphinx of Hatshepsut - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Different types of mummies

The mummification process has been around in Egypt for thousands of years. To avoid decay, the mummies are dried by chemicals. They remove their internal organs and put them in canopic jars. They were buried with the mummy.

In this museum exhibit, we are going to show you different types of mummies. Some might be sacred to the gods and some have been mummified at a young age. In this museum, some of the mummies you will be seeing are the baboon sacred to the gods, a child mummy, an ankhor, a coffin, and lastly a cat.

We chose these topics because we thought it would be fun to learn about and we wanted to do these. We wanted to learn about how a baboon is sacred to the gods. Also how a child mummy got separated from his mummies.

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This was created 1390 to 1352 BC. The sphinx is a blue color. Because it is blue, this makes the sculpture unique from others.  This shows the power of the lion and the royal offering to the gods.

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Sphinx of Amenhotep III, possibly from a Model of a Temple - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This is an amulet representing the god Anubis. Anubis is the god with the jackal head. This artifact was put with the dead. He had the duty of protecting the mummy. Anubis would oversee weighing the heart for Osiris. If your heart is pure, then you can pass to the next stage of making it to the next world. Anubis would decide whether you could move to the next stage or not.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This was made in 1951 to 1550 BC. It is made of amethyst. The dynasty was 12-17. This was a female sphinx artwork. On the bottom of one of the sphinxes, it says M.2177.

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Female sphinx amulet - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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In this artifact of Osiris, Osiris is in his mummy form with royal crowns and scepters. He has a crook and a flail. A crook represents that Osiris is the guardian of his people. The flail represents that he has provided food for his people. Osiris is the god of the netherworld or the underworld. Osiris is wearing the crown of the pharaohs of Upper Egypt, called the atef-crown. Originally, this artifact was inlaid with magnificent amounts of jewels, but now due to time, most of the jewels have fallen off.

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Votive statue of Osiris - Google Arts & Culture

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In 664 B.C., after a period of foreign rulers, an indigenous dynasty from the city of Sais, situated in the Nile delta, seized power again in the Egyptian ...

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This object shows how the Egyptians valued the dead. They are rushing to get the mummy on a ship and give it the best fate. They have a bed for the mummy and many important possessions. The ship is simple yet elegant symbolizing that the Egyptians were empathetic to the dead. The ship, to be precise, had long oars and poles, as well as a painted base. The mummy was quite valued by the Egyptians and they wrap it and save it for the best fate.

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Wooden model of a funeral barge: The hull, which is carved from a single block of sycamore wood, has a good beam in proportion to length. The bow and stern...

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The Great Sphinx is a large sphinx statue, one of the most important sphinxes. It is located on the Giza plateau. This is a fragment of the beard in that sphinx. It is made of limestone. It is about one thirtieth of the beard of the Great Sphinx.

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Together with the nearby pyramids, the Great Sphinx at Giza is one of the great symbols of ancient Egypt. It is generally attributed to Khafre, the king who built the second pyramid. It was carved out of local limestone, which was probably left over from rock used for construction of the ' Great Pyramid' of Khufu (Greek: Kheops), Khafre's father.

The British Museum has this small fragment - about one-thirtieth in total - of the Great Sphinx's beard. It was presented by Giovanni Battista Caviglia, who excavated at Giza in 1817 and cleared parts of the Sphinx, which was then buried in sand up to the neck. His expenses were covered by Henry Salt (British Consul-General) and other British businessmen, with an agreement that finds be presented to The British Museum. This was done according to a directive of Mohammed Ali Pasha, who was at that time virtually the ruler of Egypt.

Caviglia found a number of fragments of the beard and the tip of the uraeus between the paws of the Sphinx, and left other parts of the beard in the sand. When the Sphinx was cleared in 1925-26 some other fragments were removed to the Cairo Museum.

The sphinx takes the form of a lion's body with a royal head, symbolizing the immense power of the king. The fragment shows the beard to have been of the plaited, 'divine' type, depicted on gods and the dead, rather than kings and the living (see an example on the sarcophagus of Sasobek, also in The British Museum). However, it is doubtful whether it would have had a beard when first carved in about 2550 BC; it was probably added during restoration work in the Eighteenth Dynasty (about 1550-1295 BC), and fell off in antiquity. It has sometimes been suggested that damage to the face was caused during the late eighteenth century by Napoleon's troops. In fact an early fifteenth-century Arab historian reported that the face had been disfigured in his time. Seventeenth- and mid-eighteenth-century drawings, made before the French expedition to Egypt, appear to support his report.

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Fragment of the beard of the Great Sphinx - Google Arts & Culture

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Together with the nearby pyramids, the Great Sphinx at Giza is one of the great symbols of ancient Egypt. It is generally attributed to Khafre, the king who built the second pyramid. It was carved out of local limestone, which was probably left over from rock used for construction of the ' Great Pyramid' of Khufu (Greek: Kheops), Khafre's father.

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This Photo was taken in 1959. It was taken by Eliot Elisofon. It is a photo of the Great Pyramid of Gizeh. It is located in Egypt and you can still see it standing high and proud today.

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Ankhhor was an Egyptian  priest, who worked in a temple dedicated to Montu, a war god. The two strips crossing his chest are a reference to Osiris, the god of the Underworld. Ankhhor was mummified according to the style of his time.

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Mummy of Ankhhor - Unknown - Google Arts & Culture

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The Egyptian priest Ankhhor lived around 650 BC. He worked in the temple dedicated to Montu, a war god who was venerated in Thebes, the religious centre of Ancient Egypt. The priests of Montu were interred in mass graves, most of which were discovered in the 19th century.

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This is a rock carved statue of Nen-kheft-ka and His Wife, Nefer-shemes. Nen-kheft-ka was a mayor of Egypt. It was found in a rock-cut tomb, which is another way to bury the dead instead of using a pyramid. Nen-kheft-ka is standing with his left foot out and his arms by his side while his wife is beside him. Nefer-shemes is smaller than her husband and is standing straight with feet together and hands at her sides.

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Statue Group of Nen-kheft-ka and His Wife, Nefer-shemes - Egyptian - Google Arts & Culture

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Found in a rock-cut tomb at Deshasheh, located about seventy miles to the south of modern Cairo, this pair statue of the mayor Nen-kheft-ka and his wife Ne...

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This child is the offspring of a mother who is now a mummy in the Cairo Museum. A possible tumor has been identified on the leg bones. This mummy was discovered in the excavations in the Roman cemeteries at Hawara. The bones were discovered displaced which may be caused by the tightness of the wrappings of linen.

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This is one of the mummies discovered by Flinders Petrie in his excavations in the Roman cemeteries near the pyramid at Hawara in 1887/8. From Petrie's excavation notebooks it appears that this child was the offspring of a woman whose mummy is now in the Cairo Museum.The child's mummy has been elaborately wrapped, and a well-executed panel portrait of the dead child inserted into the outer layers of the wrappings. Over the torso of the mummy is a shroud painted with various scenes of the Egyptian religious tradition, with the sky goddess Nut at the top. In the centre of the scenes is a band that would have been filled with a text, which was never added.CT scans of the mummy show that it was indeed that of a young person; the bones have been displaced, perhaps by the tightness of the wrappings. A possible tumour has been identified on the leg bones, unless this is simply resin which seeped in during the mummification process.

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Mummy of a child - Google Arts & Culture

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This is one of the mummies discovered by Flinders Petrie in his excavations in the Roman cemeteries near the pyramid at Hawara in 1887/8. From Petrie's excavation notebooks it appears that this child was the offspring of a woman whose mummy is now in the Cairo Museum.The child's mummy has been elaborately wrapped, and a well-executed panel portrait of the dead child inserted into the outer layers of the wrappings.

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This coffin shows that the Egyptians wanted the best for their dead in the afterlife. It has the mummy being protected by the gods and a variety of spells from the Book of the Dead so that they could prosper in the Afterlife. This was also one of the first forms of writing and revealed what the Egyptians thought happened to the dead in the Afterlife. The coffin has the mummy being protected in many ways and given the most comforts possible.

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Egyptian mummy coffins are frequently painted with texts and images from the Book of the Dead, a collection of magic spells for use in the afterlife. Here, one of the horizontal scenes is depicted on the front of the outer coffin of Petsis, an official who worked at the Temple of Amon of Karnak. The scene depicted is the illustration accompanying proverb 151 from the Book of the Dead. The mummy lies on a bier in the shape of a standing lion. Under the bier stand the four canopic jars in which the entrails of the deceased are preserved. Anoebis, the god of mummification, takes care of the mummy. Hovering around his head is the Ba- bird (the soul of the deceased). Seated at the head end is the goddess Isis, followed by two sons of Horus, Duamutef and Qebehsenuef. At the foot end sits the goddess Nephthys, followed by Amset and Hapi.

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Mummy coffin of Petisis - Unknown - Google Arts & Culture

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Egyptian mummy coffins are frequently painted with texts and images from the Book of the Dead, a collection of magic spells for use in the afterlife. Here, one of the horizontal scenes is depicted on the front of the outer coffin of Petsis, an official who worked at the Temple of Amon of Karnak.

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This is a statue of Ka-nefer and his family. His family includes his son and his wife. Ka-nefer is a seated court official. These statues were painted and the paint has worn off so only a bit of paint is left on Ka-nefer’s eyes and hair. We do not know where this item was found but it was most likely put into a pyramid or tomb.

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Group Statue of Ka-nefer and His Family - Google Arts & Culture

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This highly important tomb sculpture shows a seated court official accompanied by his wife and son. Inscriptions name the main figure as Ka-nefer, “Oversee...

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This is the coffin lid of Sema-Tawy-iirdis. It has the Eye of Horus on top to help the deceased in the afterlife. Two kneeling Goddesses are on the right and left of the coffin. The goddess on the left is Nephthys and the goddess on the right is Isis. The coffin lid is decorated with hieroglyphics.

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"One of the essential elements of a good Egyptian burial is a coffin. Coffin shapes and decoration changed considerably during the roughly 3000-year pharaonic period, but their purpose remained the same throughout. Regardless of their shape, coffins had a practical function, serving as a container for the body of the deceased, and they offered a layer of protection for the body from accidental or intentional damage. Coffins could also provide religious or magical protection as well. Decoration of the coffin's interior and exterior could include imagery and texts designed to assist the deceased on the passage to the afterlife.

This coffin likely dates to the early part of the Ptolemaic Period (305-30 BCE). It is anthropoid in shape, taking the form of a wrapped mummy with an exposed head. The deceased is shown wearing a tripartite wig and a false beard. A large broad collar (wesekh) is on his chest. The collar has many rows of multicolor floral and geometric elements, and each terminal of the collar (located on the shoulders) takes the form of a falcon head topped with a sun disk. This is a common motif on coffins of this type and actual examples of similar collars are well known.

Below the collar is a large representation of the sky goddess Nut, who is shown with outstretched wings. She is identified by the hieroglyphs spelling her name. On either side of her head, an image of a wedjat eye appears. This protective symbol is also known as the 'Eye of Horus.' A kneeling goddess decorates each side of the coffin-Nephthys appears on the proper left, and Isis is on the proper right. They wear the hieroglyphs for their names atop their heads, and their hands rest on the shen-sign, a symbol for eternity." (Jennifer Houser Wegner, "Preparations for a Good Burial: Funerary Art in Glencairn's Ancient Egyptian Gallery," _Glencairn Museum News_, Number 5, 2019; see External Link)

Sources:
- Jennifer Houser Wegner, "Preparations for a Good Burial: Funerary Art in Glencairn's Ancient Egyptian Gallery," _Glencairn Museum News_, Number 5, 2019.

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Coffin lid of Sema-Tawy-iirdis - Google Arts & Culture

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"One of the essential elements of a good Egyptian burial is a coffin. Coffin shapes and decoration changed considerably during the roughly 3000-year pharaonic period, but their purpose remained the same throughout. Regardless of their shape, coffins had a practical function, serving as a container for the body of the deceased, and they offered a layer of protection for the body from accidental or intentional damage.

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This artifact was created around 3500 BCE. It is a pot that was found in a tomb. The tomb’s owner was a young woman from Egypt. On each side of the pot, there are boats. Above the boats, there are pictures of stylized people. People are shown taking part in a ritual but it isn’t known why they are doing so.

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Pottery shouldered jar; two pierced handles and two wavy ledge-handles; red painted representations of dancing figures, ostriches and many-oared boats.Light-coloured pots like this one, made of marl clay mined from desert wadis and painted with red ochre pigment, are known as Decorated ware. They are characteristic of later Predynastic times (c. 3500-3200 BC). The most intriguing are those painted with boats and human figures. This pot comes from the tomb of a young woman, at el-Amra in Middle Egypt, but pots showing boats have been found throughout Egypt and into Nubia. The boats are always strikingly similar, with a curved hull, a large number of oars, and two cabins in the center. Attached to one of the cabins (usually the right-side one) is a pole bearing an emblem, which may be the symbol of a god or a place.

A boat is drawn on each side of this pot. Above them are stylized human figures: a dancing woman with her hands raised over her head, and two men holding clappers or casinets. The woman is perhaps a goddess or priestess, and the scenes on this pot can be understood as episodes in a ritual or ceremony. On one side, the woman is called forth from the boat by the playing of one man, while the other man helps to raise her up. On the other side, both men beat out the tune, as she dances for them, conferring her blessings on them. The feathers worn in the hair of one man represents victory.

The full meaning of these scenes is still debated. Decorated ware is found mainly in graves, so the paintings may depicts the funeral procession. However because similar scenes are also known from desert rock art, the rituals may more broadly be associated with fertility and rebirth of the both humans and the land. Such concerns were important throughout Egyptian history. The ostriches, known for their large eggs, and the small bushes, also shown on the pot reinforce the message of fertility and rebirth.

The lack of variation in style, shape, and motifs of Decorated pottery suggests that these vessels were manufactured at a limited number of workshops; close scrutiny has even identified the work of individual artists. The artist who painted this pot probably made at least two others found in cemeteries up to 60 km away. The development of a trade and transport system to distribute pottery was one of the critical steps towards the formation of Dynastic civilization.

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Pottery shouldered jar; two pierced handles and two wavy ledge-handles; red painted representations of dancing figures, ostriches and many-oared boats.Light-coloured pots like this one, made of marl clay mined from desert wadis and painted with red ochre pigment, are known as Decorated ware. They are characteristic of later Predynastic times (c.

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Baboons were sacred to the gods and were not sold in large quantities for pilgrims. Baboon mummies were rare. The animals had to be imported from distant parts of Africa. Baboons were valued by the Egyptians because their behavior resembles that of humans.

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Mummy (baboon) - Unknown - Google Arts & Culture

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The Egyptians regarded baboons as wise creatures, because their behaviour resembles that of human beings. Thot, the god of wisdom, therefore appeared in th...

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The coffin lid of Padiamun is painted with gesso and has text and image on top of it. It’s made of sycamore wood and is  covered with a central scene that shows Padiamun's heart weighed by Anubis. Inside the lid is plain wood though.

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Anthropoid coffin lid of Padiamun, made from sycamore wood, covered with gesso and painted with images and texts. The central scene shows Padiamun having his heart weighed by Anubis in the Hall of Judgement before Osiris seated on a throne. The inside of the lid is plain wood.

Acquired by James Burton in Thebes, possibly in 1825 when he records in his journal that he saw a mummy for sale in the house of Piccinini the dealer. In 1828 Burton sent the mummy and coffins to Grove House, Regent's Park, London (in the care of George Bellas Greenough). The coffins and mummy were seen by the Scottish antiquarian Robert Hay (1799-1863) in Thebes, about 1826, and called by him 'Mr Burton's mummy' at this time. World Museum only received one complete sycamore wooden coffin (i.e., base and lid) and the bottom half of cartonnage mummy case.

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Coffin Lid of Padiamun - Google Arts & Culture

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Anthropoid coffin lid of Padiamun, made from sycamore wood, covered with gesso and painted with images and texts. The central scene shows Padiamun having his heart weighed by Anubis in the Hall of Judgement before Osiris seated on a throne. The inside of the lid is plain wood.

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The wrappings and detailed paint of the face of the cat are typical of the Ptolemaic period. The cats were kept in temple precincts and they were mummified at death, so pilgrims could offer them to the temple. The pilgrims would request mummified cats on religious holidays to give to the gods. The selling of mummified cats would help the economy of the temple. The cat cemeteries are near a temple. Some modern X-rays show broken necks that could have caused the death.

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The intricate wrappings and painted detail on the face of this mummified cat are typical of the Ptolemaic period, a time when animal cemeteries of all types abounded. This is a particularly good example, complete and virtually undamaged. Evidence suggests that cats were already being mummified around 1350 BC, but simply as a beloved pet, rather than a manifestation of the goddess Bastet, as in later times. Thousands of cats have been unearthed in several cemeteries, the majority dating from the Ptolemaic period (332-30 BC). The animals were kept in temple precincts and mummified at death for pilgrims to present as votive offerings in the temples. The cat cemeteries near the temple of Bastet date from around 900 BC and may represent the earliest large animal cemeteries. Other animal mummies include cattle, lions, crocodiles, rams, dogs, baboons, ichneumons (Egyptian mongooses), ibises, falcons, shrewmice, snakes and fish. Modern x-rays of cat mummies reveal a less than perfect situation for these temple cats - many show a broken neck as the cause of death and at a very young age. Presumably, a large influx of pilgrims for a religious holiday would demand a large number of mummified cats for votive offerings. The selling of these would help with the temple economy.

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Mummified cat - unknown - Google Arts & Culture

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The intricate wrappings and painted detail on the face of this mummified cat are typical of the Ptolemaic period, a time when animal cemeteries of all types abounded. This is a particularly good example, complete and virtually undamaged.

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Mummy of Nesmin with plant wreath, mummy mask, and other cartonnage elements

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Mummy of Nesmin with plant wreath, mummy mask, and other cartonnage elements

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The mummy Nesmin, the name means “The One Who Belongs to (the god) Min”. He was a priest for Min in Akhmim.  His inscription on his coffin showed that his father Djedhor was also a priest, and his mother, Tadiaset was a musician. This was an important object because the mummy has been wrapped and decorated in many elements showing that it needed to be honored in the most exquisite ways.

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Mummy of Nesmin with plant wreath, mummy mask and other cartonnage elements - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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This mummy mask shows how the Egyptians considered their dead extremely important. It has bright colors and is elegantly decorated. It also makes people see how divine the wearer of the mask is. Some of the parts, such as the neck symbolize that the mummy has a connection to and is protected by the gods Horus and Anubis. The ways that the Egyptians decorated and detailed their mummies shows how much they cared for them.

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Egyptian mummy mask - Google Arts & Culture

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The ancient Egyptians performed mumification to transform the bodies of the dead into dwellings for the ba (spirit) in the afterlife. The seventy-day proce...

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This coffin lid is made out of sycamore wool, and it is covered with gesso. Wool is on the inside of the lid. On the coffin lid, the part in the middle shows Anubis weighing Padiamun’s heart. The coffin lid is about 560mm X 815mm X 2200mm. It was created in Egypt, Thebes.

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Anthropoid coffin lid of Padiamun, made from sycamore wood, covered with gesso and painted with images and texts. The central scene shows Padiamun having his heart weighed by Anubis in the Hall of Judgement before Osiris seated on a throne. The inside of the lid is plain wood.

Acquired by James Burton in Thebes, possibly in 1825 when he records in his journal that he saw a mummy for sale in the house of Piccinini the dealer. In 1828 Burton sent the mummy and coffins to Grove House, Regent's Park, London (in the care of George Bellas Greenough). The coffins and mummy were seen by the Scottish antiquarian Robert Hay (1799-1863) in Thebes, about 1826, and called by him 'Mr Burton's mummy' at this time. World Museum only received one complete sycamore wooden coffin (i.e., base and lid) and the bottom half of cartonnage mummy case.

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# data[].attributes.attachment_link.title
Coffin Lid of Padiamun - Google Arts & Culture

# data[].attributes.attachment_link.description
Anthropoid coffin lid of Padiamun, made from sycamore wood, covered with gesso and painted with images and texts. The central scene shows Padiamun having his heart weighed by Anubis in the Hall of Judgement before Osiris seated on a throne. The inside of the lid is plain wood.