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Our exhibit is about Bastet, goddess of cats. She  is the goddess of a very special animal to the ancient Egyptians.  Egyptians thought cats were blessings to them, so they were treated like members of the family. They were also mummified because they were so important. Not all cats died a natural death though; they were valued so much that they were sometimes sacrificed to the gods and goddesses. The importance is shown because there are so many statues of Bastet, cats, and Bastet with cats, etc. We hope you enjoy our exhibit about Bastet (not to mention cats)!

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Isis is the god of magic and healing. She is the wife of Osiris the god of the Underworld. An evil god named Seth, murdered Osiris. Seth hid Osiris’s body parts around Egypt. Isis found all of Osiris’s parts and put them together. Isis didn’t find one part of Osiris’s body .She revived Osiris enough to have a child with him . She named him Horus. Isis nursed Horus as her son. Horus is the god of war, power, and sky. He died from a scorpion sting. We have many statues and paintings in our exhibit that represent Isis and Horus. In our exhibit, we show the different forms of both Isis and Horus. The paintings and sculptures also symbolize the importance of these two gods. They represent the unity between Isis and Horus. Isis is very important to the Egyptians. She was a role model to women and helped the Egyptian people stay healthy. Horus was also important to the Egyptian people. He represented power, was a role model, and protected the Egyptian people.

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All of this information is related to sacred animals of ancient Egypt. The word sacred is defined as cherished or special or even treasured. These are such important animals so please don’t joke about them. In fact, some of them are closely tied to gods and goddesses. The creatures are shown as sculptures, vessels, mummies, or statuettes made by the Ancient Egyptians long ago. These species that we have listed are only a few while there are many animals sacred to the Ancient Egyptians. The beings stated are a cat, cow, hippo, an ibis, and a frog. Just because we have listed these animals it doesn't mean they are more important than the others which have relationships to the gods. Today, we will be starting off with the Mummy of a Cat.

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Our theme is the Book of the Dead. Ancient Egyptians used the Book of the Dead in connection with the god Osiris and other gods of the dead, and the netherworld. Some pieces and spells of the book were filled with how to gain immortality. Ancient Egyptians believed that they could achieve this goal. Pieces of the Book of the Dead belonged to priests with high power. Our theme ties these objects together because even though they have different messages for different goals they all help the deceased in the afterlife. For some people, it helps gain immortality. For example, the Linen Bandage of Hor describes the gates in the netherworld and how to overcome their guardians. On the Magic Brick of Thutmose III, it asks Anubis, the god of the dead to help protect the deceased. In conclusion, the Book of the Dead helped many Egyptians in the afterlife.

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Our exhibit shows Bastet. We have statues of Bastet’s good qualities like helping people and protecting life. Her aegis symbolized protection and fertility. Humans gave gifts to Bastet like land. She also healed people. People also respected Bastet by sacrificing cats. Bastet does not like decorated dresses as much as other goddess. This exhibit shows statues of Bastet and examples of how she was worshipped by the Egyptian people.

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power. Bastet, in cat form, represents the gentle form of the fierce Sekhmet and is kindly disposed towards the Egyptians; like equally gentle Hathor, who was associated with cattle, she was responsible for the carefree lives of the Egyptians.

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Statue of the goddess Bastet - Artist unknown - Google Arts & Culture

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power.

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In this exhibit we have 2 statues, one magic script, the lady of Akhmim, and a heart scarab. These objects represent the Book of the Dead. The Book of the Dead is a book that holds spells and incantations to survive the passage to the underworld. Osiris is the god of the underworld. When the spirits come to the end of their journey, Osiris decides who crosses to the next life. When Isis brought Osiris back to life it was also the birth of Horus. The statues represent the book of the dead by showing how the god of the underworld and his family have lived. The lady of Akhmim shows how to transform the dead into a spirit. The heart scarab and magic script show spells that help you survive the terrifying trip into the next life. All of the objects are tied together by the Book of the Dead because they all have to do with getting the dead into the underworld.

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This cat mummy has been wrapped in cardboard and linen bandages. Ancient Egyptians not only mummified humans, they also mummified animals, especially cats because they were considered a family member. Cats were also considered offerings to the goddess Bastet which is why some Egyptians sacrificed cats.

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Linen and cardboard bandages. Ancient Egyptians also mummified animals, as well as humans. The most popular were the cats, and their mummies were offered to the cat goddess Bastet. The belief in divine intervention mediated by a mummified animal, such as this cat, led to the emergence of a true animal mummification industry, with breeding sites and slaughterhouses that provided the bodies for mummification.

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Linen and cardboard bandages. Ancient Egyptians also mummified animals, as well as humans. The most popular were the cats, and their mummies were offered to the cat goddess Bastet. The belief in divine intervention mediated by a mummified animal, such as this cat, led to the emergence of a true animal mummification industry, with breeding sites and slaughterhouses that provided the bodies for mummification.

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The book of the dead was not considered a “book” in ancient times. It was instead papyrus scrolls bound together, and had spells written all over them. The ancient Egyptians believed that these spells would help the soul of the deceased leave their tomb and travel to the underworld at dawn. The goal of the spells was to awaken the dead, to restore their critical abilities, and to make sure that they would join the gods. People read this “book” to the deceased and blessed them with spells. People stopped using the Book of the Dead by the end of the Ptolemaic period (ca. 50 BCE). The “book of the dead” is related to all of our objects because all of the objects that we talk about are very important in the book of the dead.

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This panel was originally designed as part of the promotional material and exhibition graphics for a special exhibit at the Oriental Institute in 2017 called Book of the Dead: Becoming God in Ancient Egypt.

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Book of the Dead Exhibition Panel - Josh Tulisiak and Foy Scalf - Google Arts & Culture

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This panel was originally designed as part of the promotional material and exhibition graphics for a special exhibit at the Oriental Institute in 2017 called Book of the Dead: Becoming God in Ancient Egypt. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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This statue of the Egyptian Goddess Bastet is of Bastet in human form with a head of a cat. Her clothing is a short-sleeved robe, while she holds an Ancient Egyptian music instrument. In her other hand she holds an object that looks like a collar called an AEGIS.

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This bronze figurine depicts the goddess Bastet as a woman with a cat's head. She is dressed in a close-fitting short-sleeved robe, a typical garment for this goddess. The patterns of the weave and decorations are depicted with great precision in the bronze surface. In her right hand, Bastet holds up a sistrum (part of which has broken off), a characteristic Egyptian musical instrument that was used in the temple cult. In her other hand she holds an object known as an aegis. This curious object was shaped like a collar, which has here likewise been furnished with a cat's head. Displayed above the head is a sun disc with a uraeus serpent, an attribute that Bastet shares with Sakhmet, a goddess who is depicted with the head of a lioness.

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Goddess Bastet - Unknown - Google Arts & Culture

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This bronze figurine depicts the goddess Bastet as a woman with a cat's head. She is dressed in a close-fitting short-sleeved robe, a typical garment for this goddess. The patterns of the weave and decorations are depicted with great precision in the bronze surface.

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Our exhibit shows mummies and coffins. Mummies and coffins were important to ancient Egyptians so they could have a good afterlife. The ancient Egyptians sometimes painted the dead’s faces on the coffin to represent them. They also mummified them because they believed the body was important for the afterlife. Some coffins are anthropoid shaped. Ancient Egyptians also painted scenes of the dead person in the process of going to the afterlife on the coffins. There were also words (hieroglyphics) carved out on the coffins. Most of the mummies were wrapped around with bandages. Sometimes Ancient Egyptians put a coffin inside another coffin. Coffins were usually made from wood. This exhibit will show you how much ancient Egyptians cared about helping the dead get to and have a good afterlife.

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This cat figure was associated with Bastet, goddess of cats. She has defended the sun god from the Apophis, the god of Isfet, or CHAOS. Over time, cats became tame (or domesticated) animals. Egyptians treated cats just like humans so but instead some of them were sacrificed to the goddess Bastet.

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In Egypt, the cat is associated with Bast, a feline goddess who defended Ra against the attacks of the serpent Apophis, one of the evil gods. Bast's symbolism is made up of two different aspects. On the one hand, she is associated with the sun, as a clear, warm giver of life, and on the other ,with certain aspects of night and the moon.
As time passed, Bast was transformed into a deity linked to domestic life, guardian of the home and ferocious defender of children, in addition to other feminine virtues such as fertility and maternity. For the Egyptian people, cats were considered as fragments of their own incarnation, in addition to being a living symbol of a god. In everyday life, they received very special treatment, considered as a member of the family, and they were given particular attention in cases of illness or death. This bronze figure depicts the cat seated, head erect in an alert attitude and tail extended forward, curved around its front feet. Its raised ears are outstanding as a signal of attentiveness.

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Egyptian cat figure - Google Arts & Culture

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In Egypt, the cat is associated with Bast, a feline goddess who defended Ra against the attacks of the serpent Apophis, one of the evil gods. Bast's symbolism is made up of two different aspects. On the one hand, she is associated with the sun, as a clear, warm giver of life, and on the other ,with certain aspects of night and the moon.

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There were 2 main species of cats when the Egyptians lived. The swamp (or jungle) cat, and the African wild cat. Their scientific names are felis chaus and felis silvestris libyca, respectively. Both species had coffins by 1 millennium BCE. It is unknown which species was mummified more.

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Two main species of cats are known from ancient Egypt, the swamp or jungle cat (Felis chaus) and the African wild cat (Felis silvestris libyca). Mummies of both species were made during the first millennium BC, though the majority of examples identified so far have been African wild cats.The cat was closely associated with the goddess Bastet and many mummified examples have been found in cemeteries at Bubastis in the Delta, the goddess' main cult centre. The mummies were sometimes placed inside coffins made of wood or bronze. Their shape reproduces the external appearance of the cat squatting on its haunches. This example has a green-painted head and a white body.

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Coffin for a mummified cat - Google Arts & Culture

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Two main species of cats are known from ancient Egypt, the swamp or jungle cat (Felis chaus) and the African wild cat (Felis silvestris libyca).

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This exhibit is about the Book of the Dead. The books of the dead were deeply important to the ancient Egyptians. In addition to explicitly describing the afterlife and the roles of the gods, the Book of the Dead also gives insight into important concepts like the Ka and Ba, aspects of the soul believed to live on after death. Spells and passages from the text of the Book of the Dead were recorded in other places - on tomb walls, mummy wrappings, and even inside King Tut’s golden mask(!). The Book of the Dead was an expensive item; from one source, the scroll cost 1 deben(approximately 91 grams) of silver, about half of a laborer's annual pay. The Book of the Dead helps guide the dead people through the underworld to the afterlife. Each Book of the Dead belongs to a specific person. Most books have spells that help the dead person get through the dangers of the underworld. Some books are colossal, as long as forty meters, and some are smaller, as long as only one meter. All this information shows how influential the Book of the Dead was to the ancient Egyptians.

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This is the coffin of Nespamai. The body was laid in a coffin made of reed, wood, terracotta, and next stone. People in the Ptolemaic period buried the dead  in coffins in human mode. Sometimes coffins were placed inside other coffins. Nespamai was laid out on a lion footed bed. We picked this object because it is a coffin and a mummy inside it.

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Der Deckel dieses Doppelsarges des Nes-pa-maj ist zusammengeflickt. Das Antlitz des Besitzers ist idealisiertwiedergegeben, und der Halskragen konventionell gehalten. Die Darstellungen desauf einem löwenfüßigen Bett aufgebahrten Osiris, beklagt von Isis und Nephtys,die ihrerseits von jeweils zwei sogenannten Horuskindern flankiert werden,finden ebenso wie die flügelstreckende Geiergöttin Nechbet und die langenReihen spitzenmesserbewehrter Schutzdämonen sowohl auf dem kolossal wirkendenäußeren als auch auf dem zierlichen inneren Sargdeckel ihre Wiedergabe. Dazugibt es raumfüllende religiöse Texte, die alte Vorstellungen tradieren.

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Coffin of Nespamai - Artist unknown - Google Arts & Culture

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Der Deckel dieses Doppelsarges des Nes-pa-maj ist zusammengeflickt. Das Antlitz des Besitzers ist idealisiertwiedergegeben, und der Halskragen konventionell gehalten. Die Darstellungen desauf einem löwenfüßigen Bett aufgebahrten Osiris, beklagt von Isis und Nephtys,die ihrerseits von jeweils zwei sogenannten Horuskindern flankiert werden,finden ebenso wie die flügelstreckende Geiergöttin Nechbet und die langenReihen spitzenmesserbewehrter Schutzdämonen sowohl auf dem kolossal wirkendenäußeren als auch auf dem zierlichen inneren Sargdeckel ihre Wiedergabe.

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Bronze figure of the cat-headed goddess Bastet

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Bronze figure of the cat-headed goddess Bastet

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This represents a women with a cat's head that has a heavily patterned garment. The statue’s ears are pierced for earrings.  Bastet alone was just transformed to a cat. There is some text on the statue, but it has eroded in time. It symbolizes the fertility of Bastet. It relates to Bastet by showing that she has a lot of cats.

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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 page from the "Book of the Dead" shows how Ancient Egyptians used to write. Egyptians used to write their letters on a type of paper called papyrus. Papyrus is made out of a special fiber that Egyptians had found. It includes about 15 - 16 spells. Each spell contains their own structure, but were often grouped together and inscribed long scrolls. Egyptians used to write their letters on a type of paper called papyrus. Papyrus is made out of a special fiber that Egyptians had found. Most of the page is about sun hymns. This writing was very helpful for the “"Book of the Dead".

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Book of the Dead Papyrus of Irtyuru (Papyrus Milbank) - Google Arts & Culture

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The mummy of a cat is linked to the cat goddess Bastet. Even though cats are such sacred animals, a large number of them did not naturally lose their life. Plenty of energy was put into mummifying these sacred cats, though people often didn't finish mummifying the cats. The cats also had a specially designed tomb called catacombs because they are an offering to the goddess Bastet.

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Animals associated with deities were regularly mummified in the later periods of Egyptian history. The main concentration of cat burials was at sites with an association with a feline deity. The cat is associated with the goddess Bastet, whose cult centre was at Bubastis in the Delta, but there were other feline deities elsewhere in Egypt.

This cat was very elaborately wrapped, following a style which is common in the Greek and Roman periods in ancient Egypt. A lot of effort was frequently spent on the wrapping and external appearance, while the remains inside are often incomplete. It seems likely that many cats did not die a natural death; examination at The British Museum has shown many to have been aged less than one year old. Presumably a cull was made periodically in the temple catteries to provide subjects for mummification and sale to the pious.

The purchase and burial of an animal mummy in a specially designed catacomb was seen as a pious act towards the deity represented by the animal.

Unfortunately, many cat cemeteries were plundered before archaeologists could work in them: A shipment of as many as 180,000 mummified cats was brought to Britain at the end of the nineteenth century to be processed into fertiliser.

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Animals associated with deities were regularly mummified in the later periods of Egyptian history. The main concentration of cat burials was at sites with an association with a feline deity. The cat is associated with the goddess Bastet, whose cult centre was at Bubastis in the Delta, but there were other feline deities elsewhere in Egypt.

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The theme of our exhibit is Hatshepsut. This exhibit includes statues of Hatshepsut and her loyal people that were important in her rule. Hatshepsut ruled in the New Kingdom period and reigned with Thutmose lll in Dynasty 18. Hatshepsut wears a nemes-headcloth, usually worn by men, but her titles are feminine. Two of her common titles are the "Lady of the Two Lands" and the "Bodily Daughter of Re”. Her personal name, Hatshepsut, means, "foremost of noble women,” and she was a daughter of King Thutmose I. She ruled for 21 years, with subjects loyal to her. They enjoyed her ways of improving the Egyptian kingdom like agriculture and flooding issues.

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This is made out of Faience. It is made around 664-30 BCE. The divine head of the aegis shows a symbol  of protection and fertility. The aegis was an element of sacred menat necklace from 18th dynasty. A menat necklace was something made out of strands of beads. A dynasty is a period of time of a ruler. This also could serve as amulet for Bastet. It relates to Bastet because it symbolizes that she can protect humans.

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Aegis of Sakhmet or Bastet - Google Arts & Culture

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The record of the offering the land was made by Padest, son of Padenbetsekhet. Most often non-royal people made the gift and the royal people gave the gift as their own, as for this one. This donation was made in a temple. The record was made of limestone (type of sedimentary rock). It was made around 589-570 BCE. It relates to Bastet by showing humans respect Bastet.

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Donation stela: Apries offers land to Bastet - Google Arts & Culture

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This is a Book of the Dead that shows almost all of the underworld. Some of the pictures show Osiris and many slaves. It also shows Anubis weighing the hearts of Nesshutefnut. The dimensions are 1.25 by 30.3 feet. This particular Book of the Dead belongs to Nesshutefnut and is located in Chicago.

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Book of the Dead Papyrus Nesshutefnut (Papyrus Ryerson) - 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 particular Book of the Dead is a scattered piece of the Book of the Dead and contains various vignettes of spells to ward off evil. In the vignettes, the people are eating and listening to an important person. It is located in Malibu, California.

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Fragmentary Papyrus with Spells and Vignettes from the Book of the Dead - Unknown - Google Arts & Culture

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Hatshepsut, the most successful of several female rulers of ancient Egypt, announced herself as king between years 2 to 7 of her reign. She wore a nemes-headcloth and shendyt-kilt, which was ceremonial attire for the king that men usually wore. Some traces of blue pigment are visible in some of the hieroglyphs that are on the front of the statue. The statue shows Hatshepsut sitting with her hands flat on her knees.

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Seated Statue of Hatshepsut - Google Arts & Culture

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This colossal sphinx showcases Hatshepsut with the body of a lion and a human head wearing a head cloth (nemes) and a false beard. The sculptor wished to showcase a lion body and the face of Hatshepsut. This sphinx was one of the six granite sphinxes that stood in Hatshepsut’s temple. The great sphinx at Giza shows the Fourth Dynasty King, Khafre who lived almost one thousand years before Hatshepsut. Sphinxes were used to honor the pharaohs.

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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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The book of the dead belonged to a priest Irtyuru. It belonged to him in 332-30 BCE. Papyrus Milbank includes book of the dead spells 1-162, but the scribe left out 44 spells from this point and they are jumbled. Since it was jumbled it is thought that it was copied from a master source. The spells are still unique even though it was not original and copied from another source.

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Book of the Dead Papyrus of Irtyuru (Papyrus Milbank) with Spells 1-15 - Unknown - Google Arts & Culture

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Book of the Dead Papyrus of Irtyuru (Papyrus Milbank) with Spells 1-15

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This page of a Book of the Dead is for Irtyuru. It contains 15 complex spells. In the vignettes, it shows people marching with the dead person, who is lying in a boat-like object. It also shows a person pouring a liquid into some pots. The dimensions are 1 by 33.75 feet. It was created in Memphis, Egypt and is still located there.

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Book of the Dead Papyrus of Irtyuru (Papyrus Milbank) with Spells 1-15 - Unknown - Google Arts & Culture

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Book of the Dead Papyrus of Irtyuru (Papyrus Milbank) with Spells 1-15

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Page from the Book of the Dead of Hunefer

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Page from the Book of the Dead of Hunefer

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This Book of the Dead is for Hunefer and this is special because there are many more vignettes than a standard Book of the Dead. In the pictures, it shows Anubis weighing Hunefer’s heart. He passes and goes to Osiris and the other gods. Finally, it shows Hunefer admiring the gods. While he does this, many gods are looking at Hunefer. The dimensions are 1.25 by 2.9 feet, which is small for a Book of the Dead.

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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 scene reads from left to right. To the left, Anubis brings Hunefer into the judgement area. Anubis is also shown supervizing the judgement scales. Hunefer's heart, represented as a pot, is being weighed against a feather, the symbol of Maat, the established order of things, in this context meaning 'what is right'. The ancient Egyptians believed that the heart was the seat of the emotions, the intellect and the character, and thus represented the good or bad aspects of a person's life. If the heart did not balance with the feather, then the dead person was condemned to non-existence, and consumption by the ferocious 'devourer', the strange beast shown here which is part-crocodile, part-lion, and part-hippopotamus.

However, as a papyrus devoted to ensuring Hunefer's continued existence in the Afterlife is not likely to depict this outcome, he is shown to the right, brought into the presence of Osiris by his son Horus, having become 'true of voice' or 'justified'. This was a standard epithet applied to dead individuals in their texts. Osiris is shown seated under a canopy, with his sisters Isis and Nephthys. At the top, Hunefer is shown adoring a row of deities who supervise the judgement.

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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 scene reads from left to right. To the left, Anubis brings Hunefer into the judgement area. Anubis is also shown supervizing the judgement scales.

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This is inscribed with a special version of spell 6. An ushabti doll was buried to help in the afterlife. The unique spell on Amenhotep’s funerary figure shows the creativeness of scribes and the book of the dead tradition.

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Funerary Figure of Pharaoh Amenhotep III - Unknown - Google Arts & Culture

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This statue was created around 664-30 BCE. It has a lion headed aegis on her chest. Bastet is wearing a dress in this statue , but she mostly does not. Its head and ears are large in proportion. It is made out of Cupreous metal. It relates to Bastet because it shows her ferocity since she holds a lion headed aegis.

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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 Stela that shows spell 15. Many Stelas are dedicated to their own spell, and this one was dedicated to spell fifteen. A Stela is an upright stone slab. The Egyptians planned the scenes and  texts very carefully. The painting (picture) at the top shows the god Behditi.

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Stela of Harsiese Inscribed with BD 15 - Unknown - 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 painting was painted during 100-200 CE. This painting was created in Egypt. In the painting, Isis carries a staff in one hand and a necklace of flowers. In Egypt, Isis was the god of healing and magic. Isis is the wife and the sister of Osiris, the chief god. An evil god named Seth murdered Osiris. Seth hid the parts of Osiris’s body across Egypt.  Isis found the parts and revived him enough to have a child with him called Horus.The painting symbolizes Isis and how she looks. This painting is being held in the J.Paul Getty Museum in Los Angeles,California.

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Her elaborate headdress and the characteristic "Isis knot" in her mantle identify the goddess Isis. The headdress combines floral elements with a central uraeus, all covered by a transparent veil. The goddess carries a staff on one shoulder and a wreath of pink flowers, like those seen on portraits of her worshippers, draped over the other.

In traditional Egyptian religion, Isis was the wife and sister of the chief god Osiris. The evil god Seth murdered Osiris and scattered parts of his dismembered body throughout Egypt. The bereft Isis found all the parts but one, reassembled and wrapped them in linen and revived Osiris enough that she conceived a child, Horus, by him.

Although their names changed, this holy family remained important in Ptolemaic and Roman times. Aspects of the traditional gods Osiris and Horus were incorporated into the new Hellenized deities Serapis and Harpocrates, who joined Isis in a holy triad. By Hellenistic times, the worship of Isis had developed into a mystery religion that spread throughout the Mediterranean because it promised a happy, carefree afterlife to its initiates.

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Panel with Painted Image of Isis - Unknown - Google Arts & Culture

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Her elaborate headdress and the characteristic "Isis knot" in her mantle identify the goddess Isis. The headdress combines floral elements with a central uraeus, all covered by a transparent veil. The goddess carries a staff on one shoulder and a wreath of pink flowers, like those seen on portraits of her worshippers, draped over the other.

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A passage from spell 151 is carved at the bottom.  The text asked Anubis whose figure is on top of the brick. It requests that Anubis protect the dead. Anubis is the Egyptian god of dead. Scribes used different source documents when inscribing spell 151 on the bricks. This is from about 1479-1425 BCE.

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Magic Brick of Pharaoh Thutmose III - 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 page is dedicated to Nakht. Nakht was an army general c. 1400 B.C. Nakht is approaching Osiris so that Osiris can begin the heart weighing in this array of vignettes. Vignettes in this also shows that a god is pouring water for the deceased. This also shows just how significant the Book of the Dead was to the Ancient Egyptians because they preserve it and use much time to make the book.

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Nakht was a royal scribe and overseer of the army ('general') at the end of the Eighteenth Dynasty (about 1550-1295 BC). His Book of the Dead is a beautifully illustrated example.Chapter 15 of the Book of the Dead is a collection of hymns loosely associated with the worship of the sun-god at the setting of the sun. The mixture is so diverse that it can also include the worship of Osiris, god of the dead and keeper of the Underworld. This sheet shows the wonderful scene of Nakht and Tjuiu, his wife, adoring Osiris and Maat, who represents the established order of things.The scene also includes a single-storey house and a garden. This picture is often taken as visual evidence for how ancient Egyptians lived, but an Egyptian representation is rarely what it seems; pictorial elements nearly always have hidden meanings, particularly in a papyrus intended for guidance in the Afterlife. The house is probably there as an expression of the deceased's wish to return to earth. In fact, Spell 132 of the Book of the Dead expressly refers to this. The pool is also symbolic of rebirth and resurrection, with other scenes showing the ba spirits of the deceased drinking from pools, or the tree-goddess pouring water for the dead in the area of the pool.

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Papyrus from the Book of the Dead of Nakht - Google Arts & Culture

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Nakht was a royal scribe and overseer of the army ('general') at the end of the Eighteenth Dynasty (about 1550-1295 BC). His Book of the Dead is a beautifully illustrated example.Chapter 15 of the Book of the Dead is a collection of hymns loosely associated with the worship of the sun-god at the setting of the sun.

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This statue of the cow Hathor originally had lapis lazuli and rock crystal inside its eyes. Hathor had a feather headdress and also had horns on her head. She was white which shows that she was pure and sacred. Hathor was the goddess of the west which means that she was automatically linked to the cemetery on the land on the west side of the Nile River. Her temple was at Deir el-Bahari which is on the west side of the Nile River.

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Hathor, as goddess of the West, was particularly associated with the necropolis (cemetery) of the west bank at Thebes. In this form, she was often shown as a woman with a sun disc between a pair of cow's horns on her head. She could also appear as a cow with a sun disc or pair of feathers on its head. This cult statue originally had horns and wore a feather head-dress, both of which were probably gilded. The eyes were inlaid with rock crystal and lapis lazuli. The colour white was associated with sacredness and purity. Sacred animals were often this colour.The statue was from the shrine of Hathor at the mortuary temple which Hatshepsut (1479-1457 BC) built at Deir el-Bahari. The decoration of the shrine emphasizes a more ancient aspect of Hathor, who since the Old Kingdom (about 2613-2160 BC) was also thought to nurture and protect the king. Hatshepsut used this device to show that the gods recognized her as king, a status to which she had no right as she was a woman. Hatshepsut's self-proclaimed divine birth, and Hathor's aspect as a fertility goddess, meant that many women left offerings at the shrine in hope of conceiving a child.

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Head of a figure of the cow of Hathor - Google Arts & Culture

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Hathor, as goddess of the West, was particularly associated with the necropolis (cemetery) of the west bank at Thebes. In this form, she was often shown as a woman with a sun disc between a pair of cow's horns on her head.

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Kneeling Statue of Senenmut, Chief Steward of Queen Hatshepsut

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Kneeling Statue of Senenmut, Chief Steward of Queen Hatshepsut

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Senenmut was the most educated official of Queen Hatshepsut and the first commoner since the Old Kingdom to have a high amount of wealth, respect, and privileges that royalty usually held. He held more than eighty titles which meant he was allowed to control the resources of Egypt and was responsible for many building projects, being a royal architect. Senemut was credited for creating Hatshepsut’s funerary temple in Deir-el-Bahri. Senemut holds a uraeus and  a sun disk with cow horns that stand on a base made of two raised arms, a gesture created to protect life, and ward off evil.

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This masterpiece of New Kingdom art portrays Senenmut, the most favored official of the dowager Queen Hatshepsut, who reigned from about 1473-1458 B.C., offering an image of Renenutet, goddess of the harvest and nourishment, on behalf of the well-being of his sovereign and in hopes of eternal blessings for himself. Senenmut was the first commoner since the Old Kingdom to enjoy a level of wealth, prestige, and privilege approaching that traditionally associated with royalty. As the queen's advisor and tutor of her only daughter, Neferure, Senenmut held more than eighty titles (including Great Treasurer of the Queen; Chief Steward of the King; and Overseer of the Treasury, Granary, Fields, and Cattle of Amun), which permitted him control over the vast resources of the royal family as well as of the state god, Amun. As chief royal architect, he was also responsible for many major building projects and is credited with the design of the splendid funerary temple of Queen Hatshepsut at Deir-el-Bahri in western Thebes (c. 1458 B.C.).

In this portrait statue, carved from a gray green schist, Senenmut grasps a symbolic cobra that supports a sun disk and cowhorns and rests on a base composed of two upraised arms (the hieroglyphic sign for "Ka")-a magical gesture intended to preserve life and ward off evil. The inscription consists of three vertical lines of incised hieroglyphs on the obelisk-shaped back pillar of the statue and continues around the base, on the top edge of the base, and vertically on the edges of the back. The name of Senenmut has been intentionally erased from the inscription, probably in the aftermath of Hatshepsut's demise or by priests hostile to Amun. The cartouche on the right arm reads: "The good goddess, Maat-ka-Re [Hatshepsut's throne name], given life." Sculptures of Senenmut are rare, and of the twenty-two known examples only a handful survive intact.

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Kneeling Statue of Senenmut, Chief Steward of Queen Hatshepsut - Google Arts & Culture

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This masterpiece of New Kingdom art portrays Senenmut, the most favored official of the dowager Queen Hatshepsut, who reigned from about 1473-1458 B.C., offering an image of Renenutet, goddess of the harvest and nourishment, on behalf of the well-being of his sovereign and in hopes of eternal blessings for himself.

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 Head from an Osiride Statue of Hatshepsut

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 Head from an Osiride Statue of Hatshepsut

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The Head from an Osiride Statue originally belonged in a carved wall of Hatshepsut's temple. Hatshepsut wears the Double Crown of Upper and Lower Egypt on the Osiride Statue. Osiride figures were carved from the same limestone bricks that were used to make temples. Four Osiride statues were used to decorate the corners of the temple's shrine of Amun, so it meant a lot to the Egyptians.

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

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The Lady of Akhmim is an ancient Egyptian mummy. She was mummified by the process of mummification, plus  spells from the "Book of the Dead". Here are the steps for mummification:

Ancient Egyptians took out all internal organs, except the heart. After that, they flushed out the brain through the nose. Then, they covered the body with a specific type of salt, called Natron.

They filled the body with spices and wealth for the mummy's soul to be happier in the next life. When I say wealth,  I mean money and coins and things that only riches can use.

Lastly, they wrapped the body in a white linen cloth.

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Hippos are sacred because they represent coming back to life once you die. The hippos that the king hunted also represent that the king was triumphant over chaos the hippo had caused.  This shows that even though these are such important creatures to the Egyptians, they are constantly hunted.  The hippo statuette has large eyes and sharp teeth. Some of its head is decorated with lotus flowers outlined in black. The plants indicate the hippos’ swampy habitat. These majestic statuettes are relevant gifts at funerals.

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In the Middle Kingdom such statuettes were popular funerary gifts: the hippopotamus was regarded as a symbol of rejuvenation in the afterlife. Although many museums all over the world house similar examples the one in Vienna is among the finest. The animal's heavy body is decorated with black outline drawings. Its face features big eyes and bared teeth. Its large body and parts of its head are covered with lotus flowers. On the animal's back is a small bird with outstretched wings. Together with the plants, it symbolizes the hippopotamus' swampy habitat. For pre-historical man, hippopotami herds trampling his fields represented a genuine threat to his livelihood. In time, the animal's habitat grew smaller and smaller until it was found only in the southern Nile Valley. Finds of objects made of hippopotamus-bone or -ivory dating from all periods of Ancient Egyptian history document that these large mammals were continually hunted. However, the king's ritual hippopotamus hunts were of particular importance, symbolizing his triumph over chaos with which the hippopotamus had been identified early on.Most hippopotamus figures were made of faience. This material comprises ground quartz sand mixed with water and alkaloids. The figure was modelled, dried, fired in a kiln and then glazed. The glaze consists of the same basic materials as the faience core, with cuprite added to achieve the characteristic green colour. The black decorations are executed in manganese and ferrit. The final step was a second firing. © Regina Hölzl, Meisterwerke der Ägyptisch-Orientalischen Sammlung, Wien 2007.

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Statuette of a Hippopotamus - Unknown - Google Arts & Culture

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In the Middle Kingdom such statuettes were popular funerary gifts: the hippopotamus was regarded as a symbol of rejuvenation in the afterlife. Although many museums all over the world house similar examples the one in Vienna is among the finest. The animal's heavy body is decorated with black outline drawings.

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King Being Nursed by the Lion-Headed Goddess Bastet

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King Being Nursed by the Lion-Headed Goddess Bastet

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This creation is possibly from Nubia. It is made out of Faience (some type of tin). It was made around 690-664 BCE. People put this object in the Pharaoh’s tomb. It relates to Bastet because it shows that Bastet cares for people  healing a pharaoh.

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Menat of Taharqo: the King Being Nursed by the Lion-Headed Goddess Bastet - Google Arts & Culture

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People painted the dead's face on the coffin to represent the dead person. The woman painted on this coffin is named Isidora. How the coffin was painted shows that she was wealthier than average people. Isidora’s earrings are different by their size and rich materials.

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Scrupulously painted in encaustic wax and enlivened with gilding, every aspect of this Romano-Egyptian portrait identifies its owner as a person of substantial wealth and social position. The name Isidora (ICIΔOPA) is written in Greek in black paint on the right upper shoulder of the mummy wrappings, and must refer to the deceased once encased in this "red shroud" mummy. The provenience of the original burial is unknown, however the curved top of the panel is commensurate with portraits found in Hawara, and a male "red-shroud" mummy has also been recovered there. The Getty Museum's mummy of Herakleides (see 91.AP.6) also belongs to this rare type, less than twenty of which have survived.
Isidora wears a traditionally hued lavender mantle. Black clavi (woven stripes) with gilded trim extend vertically from the panel onto the linen of the shroud, expanding the portrait over the linen wrappings. In its original condition we would expect Isidora's red shroud with painted clavi to extend to her ankles and her forearms and hands to be depicted crossing her torso in a manner similar to other female red-shroud mummies. Like these women, Isidora was likely to have been depicted holding a rose-petal wreath in her upraised right hand: the tip of a gold-speckled rose wreath can be seen overlapping her proper left clavus.
The surface of the portrait panel is essentially original. The encaustic wax was applied directly to the panel and ranges from lean to very heavy impasto. Brush marks and the use of a small tool for applying and manipulating the encaustic are visible on the surface of the panel. The neck folds were made by manipulating the wax in a zig-zag motion; the lips appear to be created from four different shades of red. Additional pigments include jarosite (yellow-brown), madder (pinks), copper mineral green, and lead white.
Isidora's tightly braided Trajanic hairstyle is wrapped into a plaited bun secured by a gilded pin to the top of her head. A silver hair ornament (painted in several shades of gray) can be seen to the left. Surmounting her brow is a large, impressive golden wreath with a central design perhaps having religious significance. Curls frame her face and corkscrew locks drop in front of her ears in accordance with a style popular during the latter years of the first century AD. Carbon 14 analysis of the linen at 43 BC - AD 122 accords with these stylistic traits.
Isidora's impressive earrings are distinguished by their unique size and luxurious materials. They consist of a horizontal gold bar suspended from a single pearl; itself suspending four gold vertical bars and each terminating in a pearl. She wears three necklaces connected at the front by an amethyst set into an elaborate gold mount. The topmost necklace appears to be of emeralds, pearls and gold beads, gems characteristically worn by elite women at this time; the central necklace is composed of connected gold plaques and the lowermost, largest and most elaborate has quite wide emeralds interspersed with square gold beads similar to those of the center necklace. Gold leaf has been cut into very small squares and attached to the encaustic surface in order to gild the painted jewels.

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Mummy Portrait of a Woman - Isidora Master - Google Arts & Culture

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Scrupulously painted in encaustic wax and enlivened with gilding, every aspect of this Romano-Egyptian portrait identifies its owner as a person of substantial wealth and social position. The name Isidora (ICIΔOPA) is written in Greek in black paint on the right upper shoulder of the mummy wrappings, and must refer to the deceased once encased in this "red shroud" mummy.

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This is the coffin lid of Padiamun. People were mummified so the dead can be reborn into existence. An Anthropoid is a coffin that is shaped like a human. This coffin lid of Padiamun made of wood from a sycamore tree. The coffin was covered with pictures and words. There was white paint under the text. There was an image of Anubis weighing Padiamun’s heart painted on the lid of the coffin.

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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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This inlay is being held in the Metropolitan museum of Art, in New York. This inlay was made in the 4th century B.The inlay represents Horus in his Falcon form. Horus is closely associated with being a king.

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Inlay in the form of the Horus falcon - 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 sculpture was made during 10 BCE-40 CE. This sculpture was made in Egypt. In the statue, Isis wears a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem. She also wears the crown of the goddess. Isis was the most important goddess. Isis was worshipped from 2400 BCE to around 500 CE. This statue is held in the Huntington Museum of Art in Huntington, U.S. The creator of this artifact is unknown.

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This bust depicts the goddess Isis wearing pleated garments, armlets, a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem surmounted by two large rosettes and the crown of the goddess. Isis was the most prominent Egyptian goddess, as the wife of the god of the Netherworld, Osiris, and the mother of the sun-god Horus, whose manifestation on earth was the king of Egypt. Her origins are obscure, but she is attested by about 2400 B.C., and her worship in Egypt continued until the 6th century A.D. In time she became a universal goddess, subsuming other deities, and her cult spread throughout the Mediterranean world.

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Bust of Isis - Unknown maker - Google Arts & Culture

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This bust depicts the goddess Isis wearing pleated garments, armlets, a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem surmounted by two large rosettes and the crown of the goddess.

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Ancient Egyptians had left a scroll for future Egyptians telling them that the Heart Scarabs have to be made out of green stone, mounted in a gold frame and placed the heart scarab on the mummified body’s chest. It signifies a person’s essence and powers they have. They used a few of the spells from “The Book of the Dead” to make sure the heart travels to the underworld.

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Heart Scarab Inscribed with BD 30B in Hieroglyphs, top - Google Arts & Culture

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This fragment of Hor’s bandage is inscribed with writings of the netherworld. It is from spells 144 to 150. This piece acts like a guide to the netherworld. The dead had to know the gates of the netherworld and the guards to get past.

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Linen Bandage of Hor Inscribed with BD 146-147 in Hieratic - Google Arts & Culture

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This statue is held in the Metropolitan Museum of Art, in New York. In the statue, Isis is nursing her son, Horus. It was made in 332-30 BCE. This statue was made during the Ptolemaic Period. This statue symbolizes the rebirth that created  Horus. This is a powerful symbol of rebirth. Isis wears vulture head coverings that are reserved for queens and goddesses.

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This statue was dedicated by Sheshonq, a steward of the god's wife Ankhnesneferibre, whose sarcophagus is also in The British Museum.Isis holds her wings either side of Osiris, her spouse, in a gesture of protection. She wears a modius, a crown of uraei, topped with the cows' horns and sun disc worn by many goddesses. Osiris is, as usual, mummiform, wearing the crown with the two feathers known by its Egyptian name atef.The statue is thought to come from one of two chapels which were dedicated to forms of Osiris worshipped at Karnak. These chapels were built and extended by the god's wives of Amun and the kings with whom they were associated.This is probably the same Sheshonq as the owner of the large tomb (number 27) in Thebes, still to be seen at the east end of the area in front of the temple of Deir el-Bahari known as the Assasif.

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Statue of Isis protecting Osiris - Google Arts & Culture

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This statue was dedicated by Sheshonq, a steward of the god's wife Ankhnesneferibre, whose sarcophagus is also in The British Museum.Isis holds her wings either side of Osiris, her spouse, in a gesture of protection. She wears a modius, a crown of uraei, topped with the cows' horns and sun disc worn by many goddesses.

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Hatshepsut adopted the throne name Maatkare, but her titles were still feminine. Hatshepsut was known as “The Perfect Goddess," “Lady of the Two Lands," and "Bodily Daughter of Re." On the back of her statues, there are two back-to-back goddesses and one has a crocodile tail between her legs. This statue resembles Taweret, the goddess who protects women and children, and the other looks like Ipi, a royal protector who appears in the same position on a statue of the Dynasty 17 King Sobekemsaf l.

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The Female Pharaoh Hatshepsut - Google Arts & Culture

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Osiris is the god of the dead and he judges who crosses to the next life. Osiris is one of the most important gods in Ancient Egyptian Mythology. The dead were symbolized by adding OSIRIS to their name.  The date created was Late Period, Dynasty 26, ca. 664-525 BCE.

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Osiris was arguably the most important god in ancient Egyptian funerary religion. He was the god of the dead who presided over the divine tribunal during which the righteousness of the deceased was judged. The deceased sought intimate fellowship with him after death, wishing to join his retinue, become a part of his following, and even unite with the god himself. This union was symbolized by the dead taking on "Osiris" as part of their name. It would be akin to calling ourselves "Osiris Joe" or "Osiris Jane." Considering that each person sought such a close postmortem association with Osiris, it is not surprising to find many objects in the form of Osiris buried among the tomb items. This statue derives from a stone burial chamber that belonged to an unidentified individual buried at Medinet Habu.

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Statue of Osiris - Unknown - Google Arts & Culture

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Osiris was arguably the most important god in ancient Egyptian funerary religion. He was the god of the dead who presided over the divine tribunal during which the righteousness of the deceased was judged. The deceased sought intimate fellowship with him after death, wishing to join his retinue, become a part of his following, and even unite with the god himself.

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Due to spell 151, we know that magical bricks were stacked in the tombs to protect the mummy. This brick was put on the northern wall in Amenemhat’s tomb. They wrote words on the brick in white letters indicating that this brick was associated with a figure that once stood.That figure is called Amenemhat. Amenemhat was an ancient ruler and scribe. His purpose was to protect the deceased from any harm.

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The back edge of the magic brick of Amenemhat is inscribed with a small cursive hieroglyph of a standing mummiform figure, which is a reference to the mummiform amulet that would have stood in the center of the brick itself.

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Magic Brick of the Scribe Amenemhat, back edge - Unknown - Google Arts & Culture

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The back edge of the magic brick of Amenemhat is inscribed with a small cursive hieroglyph of a standing mummiform figure, which is a reference to the mummiform amulet that would have stood in the center of the brick itself.

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This creature is a precious being since it represents the goddess Heket. The goddess Heket guarded women giving birth. A frog represents rebirth and fertility. In addition, the goddess Heket was shown as a frog-headed woman. The Egyptians were early for their time because they developed the skill to carve and create items out of stone. The animal shaped-vessel was used for holding the lotions of childbirth.

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Stone vessels are known throughout Egyptian history, but the period which saw their greatest production ran from the middle Predynastic period (about 3500 BC) to the beginning of the Old Kingdom (2686 BC), when they were in great demand as burial equipment. The wide variety of different stones used during this time was never exceeded in any later period of Egyptians history.

The Egyptians developed the ability to work hard stone into vessel shape at an early date. Basalt was popular from the beginning (4000 BC). As time went on, other stones came into use, some transported from distant quarried in the deserts, making them valuable as status symbols. Most vessels were of conventional shape, but occasionally animal-shaped jars were also carved. Colourful red breccia was one of the favoured stones for jars crafted into the form of animals such as hippopotami, birds, turtles and frogs. Each of these animals had specific meaning to the ancient Egyptians. Because a large number of young frogs could be seen on the river banks as the annual Nile flood receded, the frog has particular resonance as a symbol of fertility and rebirth. For this reason the goddess Heket, who protected women giving birth, was depicted as a frog or frog-headed woman. The association of frogs with regeneration seems to strong, that some have suggested that small frog-shaped jars like this one were used to hold precious liquids or lotions needed especially during childbirth.

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Stone vessel in the shape of a frog - Google Arts & Culture

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Stone vessels are known throughout Egyptian history, but the period which saw their greatest production ran from the middle Predynastic period (about 3500 BC) to the beginning of the Old Kingdom (2686 BC), when they were in great demand as burial equipment.

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Our theme for the exhibit is gods and goddesses of ancient Egypt. Ancient Egyptians worshiped many of them. We show specific ones inside the exhibit such as Bes, who was important to the people by scaring off monstrosities, Bastet, who was the sacred protector and goddess of cats, Horus, who was the mighty king of Lower and Upper Egypt, and last but not least, Anubis, who protected the deceased. The gods and goddesses were important because of what they did to the land and people to help them live tranqulily and cheerfully. Animals were also important to them as Egyptians sacrificed them to the gods and goddesses they represented. In completion, the gods and goddesses played an immense role in Anicient Egypt.

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This figure was built in 600 BCE. This figure is made of bronze. It is held in the British Museum, in London. Horus has lots of different forms. These forms are, his human form, his falcon form and his jackal form. This figure was excavated from Egypt. The bottom of the statue was lost. The creator of the figure is unknown. The statues show the forms kneeling down on one knee and flexing to show their power.

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This falcon-headed deity is associated with Buto, the ancient capital of the Nile Delta in Egypt before the unification of Lower and Upper Egypt. Horus of Pe's southern counterpart is the jackal-headed Horus of Nekhen, ancient Hierakonpolis (the modern town of Kawm Al-ahmar). These two gods are known as the 'Souls' of their respective towns. They symbolize the Predynastic rulers of these areas and act as the protective ancestors of the king. The two gods were particularly associated with the coronation and jubilees of the king, in their role as guardians of the divine kingship.The figures are traditionally shown kneeling on one knee, with one arm raised and the other crossing the chest. It is likely that this unusual pose was part of a ritual dance. The left arm of the figure was cast separately to achieve the pose.The eyes, cheeks and wig of this statuette were once inlaid, though no fragments have survived to indicate the materials used. The textured surface of the body perhaps indicates that it was covered with gold leaf. This suggests that the figure was dedicated by a very wealthy individual, perhaps even the king himself. Unfortunately the base of the statuette, which would probably have been inscribed with the name of the owner, is lost.

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Bronze figure of Horus of Pe - Google Arts & Culture

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This falcon-headed deity is associated with Buto, the ancient capital of the Nile Delta in Egypt before the unification of Lower and Upper Egypt. Horus of Pe's southern counterpart is the jackal-headed Horus of Nekhen, ancient Hierakonpolis (the modern town of Kawm Al-ahmar). These two gods are known as the 'Souls' of their respective towns.

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This is the mummy of Ankhhor, an Egyptian priest that lived around 650 BCE. He worked in a temple dedicated to a war god named Montu. His body was wrapped in layers of linen bandages and a shroud. The two layers wrapped around the chest like a cross indicated the god of the underworld, Osiris. Over the body was a layer of nets with blue faience beads. There was also a winged beetle shaped scarab that was a symbol of rebirth.

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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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Cats were important to ancient Egyptians. All of these objects show that cats were extremely important both physically and spiritually. There were three feline goddesses: Mafdet, Bastet and Sekhmet. Cats were often killed and sacrificed to the goddesses. In Ancient Egypt every animal and human had a role. Even furniture was in the shape of cats. Also it is a great honor when a cat gets mummified.

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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 is the coffin of Paankhenamun. It was created around 945 - 715 BCE. Cartonnage cases were famous at the time. Cartonnage coffins were usually placed in the interior of one or more wooden coffins that were decorated. After the body got mummified the mummy was put in from the back of the coffin. Paankhenamun was the doorkeeper of a temple of a god named Amun.Paankhemum wished to live a good life in the afterlife.

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This coffin belonged to a man named Paankhenamun, whose name translates as "He lives for Amun." Paankhenamun was the doorkeeper of the temple of the god Amun, a position he inherited from his father. X-ray examination reveals that he was approximately 5'6" tall and died in middle age. Cartonnage cases were a popular form of coffin at the time that Paankhenamun was buried. After mummification, the wrapped body was inserted into the case through the back. The back was then laced up, a footboard was added, and the case was painted. Cartonnage coffins were normally placed inside one or more nested wooden coffins that were also decorated.

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Coffin and Mummy of Paankhenamun - Egyptian - Google Arts & Culture

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This coffin belonged to a man named Paankhenamun, whose name translates as "He lives for Amun." Paankhenamun was the doorkeeper of the temple of the god Amun, a position he inherited from his father. X-ray examination reveals that he was approximately 5'6" tall and died in middle age.

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This piece was specifically for a priest named Nesshutenfut. He had to pay a large amount of money so his transformation into an akh-spirit would be sucsessful. An akh-spirit would be the principal aspect of the soul of the deceased. The spells were written in hieratic. Hieratic was an abridged form of hieroglyphics.

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This papyrus is inscribed for a man named Nesshutefnut with over one hundred spells from the ancient Egyptian Book of the Dead. At the right, the image labeled Book of the Dead spell 16 shows the newly emerged sun raised in the hands of a male figure. Spells 1-15 from this manuscript now reside in the Spokane Public Library from the collection of George Washington Fuller.

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Book of the Dead Papyrus of Nesshutefnut (Papyrus Ryerson) with Spells 16-18 - Unknown - Google Arts & Culture

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This papyrus is inscribed for a man named Nesshutefnut with over one hundred spells from the ancient Egyptian Book of the Dead. At the right, the image labeled Book of the Dead spell 16 shows the newly emerged sun raised in the hands of a male figure.

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This statue of Bes, the jester of gods, was made in Greece, even though he was an Egyptian god. He mainly scares off evil. On the artifact, Bes is naked apart from a lion-skin. His tail is visible between his legs. His hands rest on his thighs and his physical features are grotesque. In many homes, people had statues of him.

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The Egyptian dwarf god Bes makes his first appearance in Cyprus in the Late Bronze Age in representations that are evidently directly inspired by Egypt. In the Iron Age (from 1050 BC) other demons and gods of foreign origin were introduced, and the Cypriots were inclined to confuse the various types so that 'Bes' often borrows features characteristic of others. Cypriot Bes appears to have had an apotropaic function: serving as a means to ward off evil. The worship of Bes seems to have been introduced to Cyprus along with other originally Egyptian cults by the Phoenicians early in the Archaic period (about 850-475 BC). This was before the island fell under Egyptian control or influence about 570-526/5 BC. In Egypt Bes at his most typical appears frontal and squatting. He is naked, apart from a lion-skin, whose tail is usually visible between his legs. His hands rest on his thighs and his features are normally grotesque, animal rather than human. He is usually bearded and has mane-like hair. From the time of the New Kingdom he usually wears a feather crown and in the Saite period (663-525 BC) his square cut-beard is on occasion replaced by a spiral beard, and these two versions became interchangeable. This terracotta figurine is, therefore, in the typical pose of Egyptian Bes, although he is completely naked and bare-headed and has no tail between his legs. Some Phoenician representations include these features and illustrate how Egyptian iconography was often transmitted to Cyprus.

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Terracotta figurine of the Egyptian god Bes - Google Arts & Culture

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The Egyptian dwarf god Bes makes his first appearance in Cyprus in the Late Bronze Age in representations that are evidently directly inspired by Egypt. In the Iron Age (from 1050 BC) other demons and gods of foreign origin were introduced, and the Cypriots were inclined to confuse the various types so that 'Bes' often borrows features characteristic of others.

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Horus is the son of Isis and Osiris. Once Isis brought Osiris back to life when  Horus was born. Isis is mainly known for the rebirth of Osiris and the birth of Horus. In the picture Isis wears a horned crown and a sun disk. The sun disk was given from the cow goddess (Hathor).She also wears a vulture headdress from the goddess Mut. The date the statue was created was  Late Period-Ptolemaic Period, ca. 664-30 BCE.

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Statue of Isis and Horus - Unknown - Google Arts & Culture

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The Cosmetic Vessel is the first 3D representation of a cat in Egyptian art.The eyes are made of rock crystals, bordered with copper. The vessel made sure all the characteristics of a cat were realistic. We chose it because it was the first 3D Egyptian art of a cat.

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Cosmetic Vessel in the Shape of a Cat - 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 statuette of Isis was made in Ancient Rome. Isis was originally an Egyptian god, but the Romans took over the goddess and started to worship her as a Roman goddess. She had many powers, including the ability to give her followers a better afterlife. In this statuette, she wears the elaborate headdress of Isis. In many myths, she is also the wife of Osiris.

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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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The gods of Ancient Egypt were in human form, animal form, or human body with an animal head. The statue of the goddess Bastet is the representation of the goddess of cats. We chose this object because the goddess of cats is important to our theme because, if there is a goddess of cats that means that cats are important to the egyptians.

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power. Bastet, in cat form, represents the gentle form of the fierce Sekhmet and is kindly disposed towards the Egyptians; like equally gentle Hathor, who was associated with cattle, she was responsible for the carefree lives of the Egyptians.

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Statue of the goddess Bastet - Artist unknown - Google Arts & Culture

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power.

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Bastet, the goddess of cats, is in cat form in this statue. She was the gentle form of Sekhmet, the goddess of war. She also resembled gentle Hathor, who is the major goddess of dancing, musical arts, beauty, and pleasure. People sometimes sacrifice cats to symbolize Bastet.

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power. Bastet, in cat form, represents the gentle form of the fierce Sekhmet and is kindly disposed towards the Egyptians; like equally gentle Hathor, who was associated with cattle, she was responsible for the carefree lives of the Egyptians.

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Statue of the goddess Bastet - Artist unknown - Google Arts & Culture

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The world of the gods in Ancient Egypt was extremely multifaceted. They appear in animal or human form, or as humans with an animal's head. Certain animals were specifically allocated to symbolise their superhuman power.

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This majestic statuette did tons of difficult work. It was referred to as the patron of scribes, and represented the art of writing. It also represented the god’s messenger. In fact, it declared to the queen, the ruler, the birth of her spiritual child. This creature was specially designed for its job. The body was constructed of wood and surrounded by plaster that was white. It wears a beautiful crown called the “Atef-Crown.” The crown was saved for the pharaoh and Osiris, has 3 reeds,  two horns twined together that came from a ram, two Uresus, and a couple of ostrich feathers.

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Ibis was the sacred animal of the deity Thot, who was also venerated in the shape of a baboon. Thot embodied wisdom and the art of writing; he was also the patron of scribes. As the messenger of the gods he announced to the queen the birth of her divine child. At the Weighing of the Heart, which takes place in the Hall of Osiris, it is Thot who records the result and informs Osiris. The myth also tells how Toth mediated in the battle between Horus and Seth and who healed their wounds. The veneration of ibises was first recorded in the 19th Dynasty, but most of the written references to this cult date from the Ptolemaic Period. Sacred ibises were kept in temples all over Egypt, but the god's main sanctuary was located at Hermopolis Magna in central Egypt. But there were also important sanctuaries at Saqqara, Abydos and Kom Ombo. Thousands of ibis mummies were buried at each of them: over 500.000 were found in Saqqara alone. These mummified ibises were venerated as incarnations of the god Thot. Votive statues like this one were also popular. Note the outstanding naturalistic rendering of this bird. Its body is made of wood covered with fine white plaster. Its head bearing the atef-crown, long neck, tail feathers and legs were all cast in silver. The ibis' eyes, inlaid in black glass and stucco, seem to bring the creature to life. The atef-crown was reserved for the pharaoh and Osiris; here, it consists of two entwined horns of a ram, three bound sheaves of reed with sun-disks, two ostrich feathers and two Uraeus. © Regina Hölzl, Meisterwerke der Ägyptisch-Orientalischen Sammlung, Wien 2007.

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Statuette of Thot as Ibis - Unknown - Google Arts & Culture

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Ibis was the sacred animal of the deity Thot, who was also venerated in the shape of a baboon. Thot embodied wisdom and the art of writing; he was also the patron of scribes. As the messenger of the gods he announced to the queen the birth of her divine child.

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Horus is often described as the divine Egyptian king of Lower Egypt and Upper Egypt. In some myths, Horus is the son of Osiris. He wears the double crown which symbolizes his respect and rank. Every living king was perceived as Horus, and after the king's death, he became Osiris, god of the underworld.

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Statuette of Horus, divine representation of the Pharaoh, wearing the double crown, symbolizing his rule over Upper and Lower Egypt - Unknown - Google Arts & Culture

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The Egyptian king was perceived as the earthly manifestation of the god Horus, son of Osiris, a descendant of the creator god and the legitimate heir to th...

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This bronze figure of the cat is a representation of the Egyptians' strong bond with the cats, stronger than any other country in the world. This statue is known as the Gayer-Anderson Cat after its donor to The British Museum.

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The domesticated cat is probably associated more with ancient Egypt than any other culture in the world. This cat is a particularly fine example of the many statues of cats from ancient Egypt. It has gold rings, a silvered collar round its neck and a silver protective wedjat eye amulet.

The cat is mostly identified with the goddess Bastet, whose cult centre was at Bubastis in the Nile Delta. Bubastis became particularly important when its rulers became the kings of Egypt, forming the Twenty-second Dynasty, sometimes known as the 'Libyan Dynasty'. The rise of the importance of Bastet and the cat can probably be dated to this period.

As with other creatures sacred to particular deities, it became very popular in the Late Period (661-332 BC) to bury mummies of cats in special cemeteries as a sign of devotion to the goddess. A number of cat cemeteries are known from Egypt. See, for example, a cat mummy dating to the first century AD from Abydos.

This sculpture is now known as the Gayer-Anderson cat, after its donor to The British Museum.

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Bronze figure of a seated cat - Google Arts & Culture

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The domesticated cat is probably associated more with ancient Egypt than any other culture in the world. This cat is a particularly fine example of the many statues of cats from ancient Egypt. It has gold rings, a silvered collar round its neck and a silver protective wedjat eye amulet.

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This statue, Anubis, the god of mummification, was during the Ptolemaic period, dated between 332-30 B.C.  Anubis is depicted greeting the deceased in the underworld and protecting them. He is shown as a human with a jackal head. He is also wearing jewelry and garments in the statue with a feather pattern.

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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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Most spells of the book of the dead were in burial chambers although they were also in temples.A human body is the centerpiece of the burial chamber.They started the text on linen wraps and the amulets of the mummies.The incantation was used to transform the deceased into a spirit.The dead were encircled by a religious, powerful spell. This picture shows that the woman(Lady Akhmim) who died had bad medical conditions.She had chronic issues like bone loss and very bad teeth.She  died of old age because of some catastrophic event. She is the centerpiece of the chamber. The date created was Late Period-Ptolemaic Period, 664-30 BCE

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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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Mummifying cats were important to Mafdet, Bastet and Sekhmet. Mummified cats were sacred to the gods and acted like devotees to them. These sacrificed cats would complete a wish. They would do rites so they could do this. We chose this object because a mummified cat is the closest we can get to a real one.

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Each group of human beings confers its own reality on the world and finds a way of living in it and making sense of it. These different approaches mean tha...

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A Thutmose is a spell written at the bottom of a hieroglyphic script(brick) which is dedicated to the god Anubis. The statue of Anubis was placed at the top of the script to be vigilant and protect the dead. The brick is made out of brick clay and red particles. The brick is made for the King/pharaoh  for when he died. The date created was New Kingdom, Dynasty 18, Reign of Thutmose III, ca. 1479-1425 BCE.

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Magic Brick of Pharaoh Thutmose III - 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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Cats were being mummified in 1350 BCE. Cats were extremely important to the Egyptians; they have their own cemetary. These cemeteries are mostly for the goddess Bastet. We chose it because it was a perfectly preserved mummy in a cat cemetery.

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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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In the afterlife the dead use magic to maintain control of  the Heart Scarab. Incantations 30B and 29B are on the amulets carved in a heart or scarab beetle shape. Heart scarabs  magic was powerful and strong. The Heart Scarab is a charm of magic designed with gold. The heart scarab was wrapped in linen and kept close to the heart that is in the body. The date created was New Kingdom–Late Period, Dynasty 19–26, ca. 1295–525 BCE

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Heart Scarab Inscribed with BD 30B in Hieroglyphs, bottom - 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 is closely related to the goddess Bastet. Many cats didn’t have a natural death, examination says most cats were less than one years old. The cats were killed and sacrificed to the goddesses Mafdet, Bastet and Sekhmet. At the end of the nineteenth century, many mummified cats were sent to Britain to become fertilizer. We chose it because the mummy of a cat looks realistic.

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Animals associated with deities were regularly mummified in the later periods of Egyptian history. The main concentration of cat burials was at sites with an association with a feline deity. The cat is associated with the goddess Bastet, whose cult centre was at Bubastis in the Delta, but there were other feline deities elsewhere in Egypt.

This cat was very elaborately wrapped, following a style which is common in the Greek and Roman periods in ancient Egypt. A lot of effort was frequently spent on the wrapping and external appearance, while the remains inside are often incomplete. It seems likely that many cats did not die a natural death; examination at The British Museum has shown many to have been aged less than one year old. Presumably a cull was made periodically in the temple catteries to provide subjects for mummification and sale to the pious.

The purchase and burial of an animal mummy in a specially designed catacomb was seen as a pious act towards the deity represented by the animal.

Unfortunately, many cat cemeteries were plundered before archaeologists could work in them: A shipment of as many as 180,000 mummified cats was brought to Britain at the end of the nineteenth century to be processed into fertiliser.

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Animals associated with deities were regularly mummified in the later periods of Egyptian history. The main concentration of cat burials was at sites with an association with a feline deity. The cat is associated with the goddess Bastet, whose cult centre was at Bubastis in the Delta, but there were other feline deities elsewhere in Egypt.

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All the artifacts and statues of Isis, Osiris, and Horus show how important they were for ancient Egyptians and how much they worshipped them. In this exhibit, there are one bust and one statue of Isis, one sculpture of Isis and Horus, one statuette of Horus, and one statue of Osiris(this exhibit expands to Isis’ close family, too). Osiris and Horus were connected to who pharaohs really were.  Isis had the power of healing and magic, so she was powerful. Horus was the god of the sky and kings, and Osiris was the god of death. The three gods were family: Osiris was Isis’ brother and husband and Horus was their son. This exhibit shows how the three gods were connected, how it was important to worship them, and how powerful they all were.

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This object is a bust of Isis. Isis was the most important Egyptian goddess. She was married to Osiris and her son was Horus, the god of the sun. She wears braided clothing and A LOT of jewelry. Historians know for sure that Ancient Egyptians worshipped Isis by about 2400 BCE.

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This bust depicts the goddess Isis wearing pleated garments, armlets, a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem surmounted by two large rosettes and the crown of the goddess. Isis was the most prominent Egyptian goddess, as the wife of the god of the Netherworld, Osiris, and the mother of the sun-god Horus, whose manifestation on earth was the king of Egypt. Her origins are obscure, but she is attested by about 2400 B.C., and her worship in Egypt continued until the 6th century A.D. In time she became a universal goddess, subsuming other deities, and her cult spread throughout the Mediterranean world.

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Bust of Isis - Unknown maker - Google Arts & Culture

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This bust depicts the goddess Isis wearing pleated garments, armlets, a necklace with a scalloped pendant, beaded choker, earrings, and a jeweled diadem surmounted by two large rosettes and the crown of the goddess.

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In this statue, Isis nurses her son, Horus. She wears a headdress with a vulture on it and is sitting on a throne with a reed matting. The matting may have represented Lower Egypt, where Isis protected Horus from his uncle Seth. This statue may have been a temple offering, to emphasize how the marsh, Isis and Horus were connected, or was supposed to show how powerful Isis or Horus were.

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This large amulet or votive offering made of brilliant blue faience is of a type that is first found in the Ramesside Period but becomes increasingly popular in the Third Intermediate Period and into the Ptolemaic Period. It represents the goddess Isis nursing her son Horus. She wears a throne hieroglyph (st) on her head that writes her name, Isis, as well as a vulture headdress, a particularly popular piece of headgear worn by goddesses and queens in the Ramesside through the Ptolemaic Period. Isis sits on a throne decorated with a reed matting, which may refer to the marshy landscape of Lower Egypt in which Isis protected Horus from his jealous uncle Seth until he reached adulthood and was able to defeat him. In this small sculpture Isis is represented as a nurturer and protector of the young male king, a representation that may have had particular resonance during the Ptolemaic Period in which royal women often took a stronger role.

The function of this small sculpture is unclear. It may have been an amulet meant to draw on the power of the figures represented or the regenerative symbolism of the marsh and mother and son; alternately it may have served as a votive offering in a temple or shrine setting, or even as a devotional object in a domestic setting.

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This large amulet or votive offering made of brilliant blue faience is of a type that is first found in the Ramesside Period but becomes increasingly popular in the Third Intermediate Period and into the Ptolemaic Period. It represents the goddess Isis nursing her son Horus.

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This is a statue of Isis. Isis wears a tight cloak, a crescent moon on her head, and the basileion (a disk of the sun which was held up with cow horns). People held ceremonies for her, and when they did, they used a musical instrument, the systrum, which represented her worship, and the situla, which was a jug which was meant to hold water, wine, and milk.

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The staute of the goddess Isis is characterized by her typical attributes: on the the head, the crescent moon and the the basileion, a solar disc supported by bovine horns; on the chest the fringed cloak, tight with a typical knot. The hands hold the ritual instruments: the systrum, the musical instrument symbolizing her cult, and the situla, the jug for water, milk or wine. 2nd-3rd century AD

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Statue of the Goddess Isis - Google Arts & Culture

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The staute of the goddess Isis is characterized by her typical attributes: on the the head, the crescent moon and the the basileion, a solar disc supported by bovine horns; on the chest the fringed cloak, tight with a typical knot.

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This is a statue of Horus. Horus was a powerful god, his mother being Isis (goddess of medicine, magic, etc.) and his father being Osiris (god of the dead). He had a falcon head because he was a sun god and some Egyptians believed that falcons were special animals.  On Earth, Horus took the form of all Egyptian pharaohs.

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Statuette of Horus, divine representation of the Pharaoh, wearing the double crown, symbolizing his rule over Upper and Lower Egypt - Unknown - Google Arts & Culture

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The Egyptian king was perceived as the earthly manifestation of the god Horus, son of Osiris, a descendant of the creator god and the legitimate heir to th...

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This is a statue of Osiris, who was the god of the dead. He was the brother of Seth, the person who murdered him. He was also the brother and husband of Isis. Horus was his son. Osiris was related to the god who created life and took his position of power. Osiris was the god pharaohs took the form of after they died. In temples, statues of Osiris were important (Osiris being important himself) and were common.

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