2014/06/22

Counterpoise of a Pectoral of Tutankhamun


This pectoral counterpoise is made of gold, semiprecious stones, and polychrome glass. Strands of beads originally hung beneath this piece of jewelry.

The openwork part of the counterpoise features Heh, the god of a million years, kneeling and bearing the Udjat sacred eye of Horus.

Counterpoise of a Pectoral of Tutankhamun
 One of his arms is supported by the Sa symbol of protection and he is flanked by two uraei, or royal cobras, topped with sun disks. The two reeds on the sides of the counterpoise symbolize time.

 Heh traditionally holds these reeds while standing upon the Shen ring of infinity and a frog that symbolizes thousands of years. These symbols guarantee the king millions of years of safety and protection whether he is alive or dead.

2014/06/18

Pectoral of King Tutankhamun


Pectorals, which were considered to be shields, were important jewelry items of kings or high officials. The magic of the sacred symbols, deities and colors on the shields protected the wearer in life and the afterlife.

Unlike many other pectorals made of gold and semiprecious stones, this pectoral is made of gilded wood and colored glass and belonged to King Tutankhamun.  The main decorative element is the royal cartouche containing the throne name of the king.

Pectoral of King Tutankhamun

The serpentine scarab, usually the central and most important element of the pectoral, is used as a counterbalance and hangs on the back of the wearer.

This pectoral was given as a present for the burial of the king by one of the humbler attendants.



2014/06/13

Piece of Jewelry of King Tutankhamun

Clasp of a Piece of Jewelry of King Tutankhamun

This beautiful clasp from a piece of jewelry forms the throne name of King Tutankhamun, "Neb-kheprew-re." It was found among other jewelry in boxes in the Treasury Room, a name given by Howard Carter to this room because it contained treasures more valuable than the objects found in the other rooms of the tomb.

The central element is the scarab "Khepri," which is made of a fine piece of lapis lazuli; the line details of the scarab are marked in gold. Beneath it is a basket-shaped "neb" sign, decorated with squares inlaid with lapis lazuli, turquoise and carnelian.


Between the forelegs of the scarab, is the rising sun disc "Re" made of carnelian set in gold. Instead of the wings, which usually flanked the scarab, there are two cobras "uraei"; each is surmounted by a sun disc made of carnelian that rests on the shen sign, the symbol of universal power.

The heads of the cobras are lapis lazuli, carved in high relief. The markings on the bodies are exceptionally effective, inlaid in carnelian, lapis lazuli and in red, blue, and greenish-blue glass.

2014/06/07

Tutankhamun Boxes


Like many of the items in Tutankhamun's tomb, this intricately designed pendant reflects aspects of the traditional religion that the young king restored. It was found in a box in the Treasury with other similar objects, probably all of which were originally from the king's personal collection of jewelry. The central motif depicts the rising of the sun.

 The scarab beetle, who sustains its young from the ball of dung it carries, was associated in Egyptian mythology with the sun, as the means by which it crosses the heaven every day. Here, the golden beetle, inlaid with lapis lazuli, is in the bark of the sun, holding the solar disk in its front legs and the shen hieroglyph ("infinity") in its hind legs. The hieroglyph pet ("sky") above is fashioned of lapis lazuli and inlaid with fourteen golden stars; the water below is lapis lazuli inlaid with golden waves.

  Pendant Depicting the Solar Beetle Flanked by Baboons of Tutankhamun

On either side is the hieroglyph was ("dominion"). The scarab is accompanied by two baboons, animals frequently associated with the rising sun. Moreover, the god Thoth, who is often represented in the form of a baboon, usually accompanies the sun in the bark. Upon the baboons' heads are the lunar disk and crescent. The two are seated on the roof of a golden shrine, worshipping the sun as it rises.


2014/06/06

Tutankhamun Daily Life beds

The Daily Life beds or Ordinary Beds of Tutankhamun

 Tutankhamun Daily Life beds

These beds are referred to as ordinary , conventional or  daily Life bed. They were 4 beds and discovered at the tomb of Tutankhamun maily from the antechamber but one from the annex.


 Tutankhamun Daily Life beds


Tutankhamun Bed represented with God Bes

 Tutankhamun Daily Life beds

 

The Gilded bed of King Tutankhamun

Tutankhamun Daily Life beds 

 


Pomegranate Vase of King Tutankhamun

Vase in the Form of a Pomegranate
 of King Tutankhamun


This painted ivory vase is shaped like a pomegranate. It has a serrated, or saw-toothed, rim and a bulging belly. It once had a floral decoration that is now missing.

A larger pomegranate vase that was made of silver is considered to be the finest metal vessel in Tutankhamun's collection.

Vase in the Form of a Pomegranate of King Tutankhamun

The pomegranate was brought to Egypt from Asia following the campaigns of Tuthmosis the Third. Perhaps, this explains its popularity as a vessel shape during the later years of the Eighteenth Dynasty.

Pectoral with Scarab Identified with God Khepri


The central element of this pectoral is the scarab, identified with the god Khepri, the sun at dawn. Here it is carefully carved in the round in lapis lazuli, with detailed head markings and wing striations, or stripes.

Pectoral with Scarab Identified with God Khepri

It supports a cartouche, carefully inlaid, bearing the praenomen, or first name, of the king with the epithet "Chosen of Re." Between its back legs the beetle holds the Shen sign, inlaid with carnelian, the symbol of universal power.

On the sides of the scarab, uraeus serpents hang down from the cartouche. The bodies are in gold with fine linear markings. This pectoral shows craftsmanship of superb quality on a very small scale.

Tutankhamun Blue Headrest

Blue Glass Headrest of Tutankhamun


This turquoise-blue glass headrest probably was padded with linen to provide support and comfort during sleep. The headrest is fashioned in two halves and joined at the center of the column with a square wooden dowel.

A narrow strip of gold foil covers the joint. It is covered with alternating signs of the Ankh, symbol of long life, and the "Was" scepter, symbol of prosperity and dominion.

Tutankhamun Blue Headrest

Both sides of the column have vertical texts, one with the titles and the other with the names of the king, "the Good God, the Lord of the Two Lands, Neb-khepru-Ra, who gives life like Ra." One corner of the base shows evidence of being restored in ancient times.


Tutankhamun Cartouches

The Names and Titles Of King Tutankhamun

" Tutankhamun Cartouches "

Tutankhamun Cartouches



The Horus Name: Ka-nakht tut-mesut, "Strong bull, fitting of created forms"
Tutankhamun Cartouches

The King's Horus Name The Nebty or He of the Two Ladies' Name: Nefer-hepu segereh-tawy schetep-netjeru nebu, "Dynamic of laws, who calms the Two Lands, who propitiates all the gods" (variant 1: Wer-ah-Amun, "Great of the Palace of Amun; variant 2: neb-er-djer, "...lord of all")

 


The King's Nebty or He of the Two Ladies' Name The Golden Falcon Name: Wetjes-khau sehetep-netjeru, "Who displays the regalia, who propitiates the gods" (variant 1: Heqa-maat schetep-netjeru, "The one who brings together the cosmic order, who propitiates the gods; variant 2: Wetjes-khau-yotef-Re, "Who displays the regalia of his father Re"; variant 3: Wetjes-khau tjes-tawy em..., "Who dsiplays the regalia, who keeps the Two Lands together)
Tutankhamun Cartouches

The King's Golden Falcon Name The Prenomen, which commonly follows the group nesu-bity, "dual king", traditionally rendered "King of upper and Lower Egypt": Nebkheprure, "The lordly manifestation of Re"

 


The King's Prenomen The Nomen, introduced by sa-ra, "Son of Re": Tutankhamun heqa-Iunu-shema, "Living iamge of Amun, ruler of Upper Egyptian Heliopolis (earlier variant: Tutankhaten, "Living image of the Aten")

 Tutankhamun Cartouches 



2014/06/04

Two Boxes of King Tutankhamun

Two Boxes of King Tutankhamun


These two boxes are among many boxes found in the tomb of King Tutankhamun that had been ransacked when the tomb was robbed in antiquity.

Each box is carefully covered with a thin layer of ebony and ivory. The interiors are divided into two compartments and fitted with a secondary hinged lid.

They had been closed with cords wrapped around the ivory knobs of the movable lids and would have been sealed.




Traces of hieratic inscriptions on the lid of one might refer to the items that had originally been packed in the box. On the lid of the other box, two lines of hieratic writing state that it belonged to "His Majesty, may he live, be prosperous and healthy, when he was a child."

Small High-Backed Chair Possibly from Royal Nursery

Small High-Backed Chair Possibly from Royal Nursery


Small High-Backed Chair Possibly from Royal Nursery



This small, high-backed, white chair with animal's feet possibly came from the royal nursery.

This small chair is notable for the gilded ornament between the seat and the stretchers.

Because it is a royal chair, it is decorated with the sign indicating the Unification of the Two Lands.

2014/06/03

Ornamental Perfume Vase of Tutankhamun

This ornamental vase is made of two pieces glued together and found in Tutankhamun's tomb . The upper part consists of the flask itself, which contained perfume.

The flask is flanked with the hieroglyphic Ankh sign of life, and the flowers and stems of the papyrus and the lotus, emblems of Upper and Lower Egypt. They are arranged symmetrically in openwork design.

Ornamental Perfume Vase of Tutankhamun

The lower part is the stand, which is formed of a central support flanked by two simple columns. The neck of the flask is decorated with a band of inlaid blue faience and white limestone lotus petals, hanging from strings made of blue and white glass.

They represent garlands that were used to decorate flasks on festive occasions. The flask and the surrounding signs are framed with raised stems depicting palm ribs, the hieroglyphic sign for "year."

The Footstool with Nine Prisoners of Tutankhamun's throne

The Footstool with Nine Prisoners





The priestly chair, one of Tutankhamun's thrones, has on its footstool the nine bows, the Egyptian name for the traditional enemies of Egypt.

The finely crafted figures on the footstool are of nine Africans and Asiatics bound together with chains. The men are portrayed as prisoners lying prostrate with their arms bound behind their backs. Each has the clothing, equipment, and features peculiar to each of these different people.

The Footstool with Nine Prisoners of Tutankhamun's throne

They are positioned on the footstool so that when the pharaoh sits on his throne, his enemies would be under his feet. The king's footstool is in the form of a small, low, rectangular box.

Colorful Stool Made for a Child of Tutankhamun

Colorful Stool Made for a Child


Compared with other stools that were found in the tomb of Tutankhamun, this one is remarkable. Because of its size, this stool appears to have been made for a child.

Colorful Stool Made for a Child of Tutankhamun

It is of ordinary rush-work covered with plain linen and enriched with many complicated and brilliant colors.

It is decorated with two bounding lions and the sign of Unification of the Two Lands.


Seat with Grooves belonged to Tutankhamun

Small Seat with Grooves


Seat with Grooves belonged to Tutankhamun



Although this piece of furniture, which came from the antechamber, is only 36.5 centimeters high, it might be categorized as a royal seat. It was placed under the first ritual bed.

The seat with its low back is described in the excavation report as a wooden support in which grooves have been executed on the back and on the seat. This indicates that it might have been a chair that belonged to Tutankhamun as a child.

Leather armlet

Fragment of a leather armlet, in wich an embossed decoration of a stylized geometrical type has been fretted.The fragment corresponds to one of the armlet's ends.

Leather armlet

Tutankhamun Knife

Small Knife with Handle with Name of King Tutankhamun

Tutankhamun Knife


The handle of this knife is inscribed with the cartouche of King Tutankhamun, which reads "the Good God Neb-khepru-Re, may he be given Life 'again'."

A scene in the private tomb of Vizier Rekhmire at Thebes shows that small knives like this one, were used for leatherwork, such as cutting sandal blanks, or standard shapes or forms.


Scarab Pectoral


The use of pectorals was associated with the wish for the resurrection of the dead. The front contains a scarab as a symbol of the rising sun.
On either side of the scarab we find Isis and Nephthys in jubilation, the wife and sister of Osiris,identifying the rising sun with Osiris, the god of resurrection. 

Scarab Pectoral

 Scarab Pectoral

Pectorals like these, made of stone and with a cavetto cornice at the top, were placed on the chest of the mummy, doubling in function as a heart scarab. The reverse side shows the adoration of Osiris.

King Psusennes Ring

 Ring with Udjat Eye of King Psusennes the First

 Ring with Udjat Eye of King Psusennes the First



This ring is one of many that were found in the tomb of King Psusennes the First at Tanis. The circle of the ring is made of gold and bound with wire; the wire was probably added to improve the fit. The bezel is an almost rectangular stone plaque representing the Udjat eye of Horus, a symbol of protection of the body that ensured the wearer resurrection and rebirth.

The eye was lost in a struggle and then was healed by the god of wisdom, Thoth, according to the famous myth of Osiris and Isis. The Udjat eye is pierced and attached to the ring with two round gold beads to give it flexibility and ease the movement of the stone on the finger.

Faience Necklace

Faience Necklace



Faience Necklace



The actual necklace consists of small faience disc beads, in alternating red, light blue and white colour, with between them pendants in the shape of bursting poppy heads. They are light blue (grey-blue) and light red. There are 59 pendants in total.

2014/06/02

Tutankhamun Gold Rings

Five Gold Rings of Tutankhamun 

From the Middle Kingdom until the latter half of the Eighteenth Dynasty finger rings consisted generally of a loop of cord or metal and a swivel bezel, often a scarab, that revolved on the loop. Rings with the loop and bezel in one piece, made of metal, semiprecious stones, or faience, were uncommon until the Amarna Period, when they seem to have become fashionable.

Fifteen rings, some with swivel bezels, were found on Tutankhamun's mummy, but only two were actually placed on his fingers; the remainder were bound in the linen wrappings, five over the right wrist and eight beside the left wrist. In addition, eight rings, which the ancient robbers had inadvertently left in the tomb wrapped in a piece of linen, were found in a gilded chest in the antechamber, where they had no doubt been placed by the necropolis staff. Five of these twenty-three rings are illustrated here; they are all made of gold and in every case the bezel is in the form of either a single or a double cartouche.

Tutankhamun Gold Rings

Tutankhamun Gold Rings


(a) A bipartite ring; the two hollow loops with lily-form terminals are soldered together at the bezels only. Each bezel is decorated in openwork with a figure standing on the basket hieroglyph neb, which is often used to fill the oval base of a cartouche. On the left bezel the figure represents the king presenting an offering.

The offering is received by the falcon-headed sun-god, Ra-Harakhty, shown in the right cartouche wearing the sun's disk and uraeus and holding the was scepter in his right hand and the ankh sign in his left. On the sides of each of the two loops are engraved an udjat eye on one side and a baboon on the other.


(b) One of the two rings found on the king's mummy; it was on the middle finger of his left hand. The bezel is engraved with a figure of the king kneeling and holding in his outstretched hands an image of the goddess Maat, who is represented seated on the neb sign. In her hands she holds the ankh sign. At the top of the cartouche is the protecting falcon holding in each talon the shen symbol.

Maat was the goddess who personified the action of the creator of the universe, Atum, when he established the right order in nature and society. The action depicted on the bezel reproduces an episode in a series of ceremonies performed every morning by the king or by the high priest who deputized for him. It took place in the Temple of Karnak in front of the shrine containing a statue of the god Amun.

After opening the door of the shrine and performing some preliminary ceremonies, the king knelt before the statue and offered it an image of Maat, exactly in the manner shown on the bezel. Offerings of food and drink were placed every day before the god, and maat, in the abstract sense of right order, was regarded as divine food.

Queen Hatshepsut, who lived more than a century before Tutankhamun, refers to Amun in an inscription at Beni Hasan in these words : "I magnified maat that he [Amun] loves, for I know that he lives on it."

In his field notes, Howard Carter made the following comment on this ring: "A magnificent specimen of goldsmith's work. The face is an absolute portrait of the king, showing extraordinary affinity to Akhenaton."

(c) Massive gold ring with hoop and bezel cast in one piece. The seated figure on the bezel represents the god Amun, or Amen-Ra as he is called in the hieroglyphic inscription in front of his crown. In his right hand he holds the ankh sign and in his left the was scepter. He wears on his head his regular headdress consisting of a close-fitting cap surmounted by two plumes and the sun's disk.

Amun, whose name means "the one who is hidden," first achieved prominence in the Twelfth Dynasty, four of whose kings were called by the name Amenemhat, which means "Amun is foremost." His cult was brought to Thebes from Hermopolis, in middle Egypt, where he had been worshipped since early times. In the Eighteenth Dynasty Amun gained real ascendancy over the other major gods and became the official state god.

The powerful sun-god Ra of Heliopolis became associated with him at Thebes under the name Amen-Ra and Thebes itself was called Heliopolis of Upper Egypt. Tutankhamun's predecessor, Akhenaton, suppressed his cult, together with the cults of all the other gods except that of the sun's disk, Aton, but Tutankhamun restored Amun to his former preeminence and reopened the temples of the other gods.

(d) The right-hand cartouche contains the king's throne name, Nebkheperura, and the left-hand cartouche his original personal name, Tutankhaton. The change to Tutankhamun was made in about his ninth year when he was crowned by the priests of Amen-Ra at Karnak. By making this change the king formally detached himself from the cult of Aton and declared his adherence to the cult of Amun.

(e) The seated figure in the cartouche of this massive gold ring represents the falcon-headed god, Ra-Harakhty, whose name, which means Ra-Horus of the Horizon, is written in hieroglyphics in front of him. He holds the same insignia as in the ring at the top of the illustration. The sun's disk with uraeus, above his head, is also a feature common to both rings and a regular element in his iconography.

Engraved on the loop, near the bezel, are the king's throne name on one side and his personal name on the other side. On the side of the throne is the heraldic device to commemorate the unification of Upper and Lower Egypt. Since remote antiquity the center of the sun-cult had been located at Heliopolis, near the modern city of Cairo. It was there that the sun-god Ra had his sanctuary.

Horus was the deity personified by the Upper Egyptian kings who conquered Lower Egypt, where Heliopolis was situated, at the beginning of the historical period. For political reasons it was necessary to unify the cults of the two gods, with the result that the composite god, Ra-Harakhty, came into being.

The geographical proximity of the new capital, Memphis, to Heliopolis, together with the religious link that had been created, enabled the priests of Heliopolis to exercise their influence over the crown. However, when in the Eighteenth Dynasty the capital was established at Thebes, four hundred miles to the south, and Amun was recognized as the state god, Heliopolitan influence inevitably diminished.

 Probably in order to restore some of the god's lost prestige, Amenhotpe III and his sone, Amenhotpe IV, before he moved the capital to Amarna and adopted the name Akhenaton, built sanctuaries at Karnak to Ra-Harakhty, and his name was expanded to "Ra-Harakhty lives, rejoicing in the horizon, in his name the sun-light-which-is-Aton.

" Soon after its earliest occurrence, this name was divided into two parts, both written in cartouches like royal names in order to show that Amenhotpe IV regarded him as the divine king, although the epithet "King of the Gods" had long been borne by Amen-Ra. His "reign," such as it was, did not last for more than a few years, although Ra himself survived because he was regarded by Akhenaton as the ancient god in whom the true god, Aton, had always existed.

 Tutankhamun's accession to the throne, followed by his revival of the old cults, restored Ra-Harakhty to the position he had occupied in the Egyptian pantheon before the time of Amenhotpe IV.



Gold Cloisonne Earrings of Tutankhamun



Like a number of other articles that had been placed in a cartouche-shaped box, these gold earrings were most probably used by Tutankhamun in his lifetime. They show signs of friction, which is only likely to have occurred through use. In order to attach them to the pierced lobes of the ears, a stud-like clasp was made in two pieces, so that it could be taken apart. Each piece is composed of a short cylindrical tube closed at one end by a gold disk with raised rim, on which is mounted a hemispherical button of transparent glass.

When the clasp is closed, one tube fits inside the other. A portrait of the king, painted behind one button on each earring, is visible through the glass covering. Microscopic examination has suggested that it is not, however, a true painting; it seems to consist of particles of colored glass fused on the underside of the clear glass button. Two pendent uraei attached to the disks flank the portraits. Suspended on ring eyelets from the clasps are figures of hybrid birds with gold cloisonne bodies and wings of falcons and heads of ducks.

  Gold Cloisonne Earrings of Tutankhamun

The wings curve inwards, meeting at the top to form a complete circle. In their claws the birds hold the shen sign for infinity. The heads are made of translucent blue glass and the bodies and wings are inlaid with quartz, calcite, colored faience, and blue, red, white, and green glass. Pendent extensions from the tails of the birds consist of open-work gold frames encrusted with alternate rows of gold and blue inlay, arranged in a feather pattern, and cylindrical blue and gold beads that terminate in five heads and hoods of uraei.

Earrings, at least for royalty, were a relatively recent innovation at the time of Tutankhamun. Their popularity in the New Kingdom was probably a legacy of the Hyksos invaders who brought them from Western Asia, where they had been in vogue for many centuries. Apart from a very small number that have been ascribed to the Middle Kingdom, the earliest recorded examples in Egypt were found by Sir Flinders Petrie in a tomb at Thebes that he dated to the end of the Seventeenth Dynasty (c. 1570 B.C.).

At first they seem to have been worn chiefly by women, not merely by members of the nobility but also by some of those who served the nobility, such as musicians and dancers. According to one of the Amarna letters, earrings were among the principal items of jewelry brought by a Mitannian princess to Egypt at the time of her marriage to Amenhotpe III (c. 1386-1349 B.C.). How soon, and to what extent, the custom was adopted by men is uncertain, but the first king whose mummy shows pierced lobes of the ears is Thutmose IV (c. 1419-1386 B.C.). Perhaps it is no more than a coincidence that he was the first Egyptian king to marry a Mitannian princess, because instances of men wearing earrings occur in the wall paintings of at least two Theban tombs that antedate his reign.

Compared, however, with the countless representations of female wearers of earrings, the number of representations of male wearers is very small and, in the main, confined to young princes. The lobes of the ears of the mummies of several kings, including Sethy I and Ramesses II, were pierced and it must be supposed that at some stage in their lives they wore earrings. Moreover, sculptures of kings from Amenhotpe III and Ramesses II often show pierced lobes.

A possible explanation is that earrings were normally - though not invariably, and particularly not in Amarna times - discarded by boys when they reached manhood. Such an explanation would accord with the fact that, in spite of the profusion of other kinds of jewelry, no earrings were placed on the mummy of Tutankhamun. It would also account for perforations in the ears of the gold mask being covered with gold foil.


Ivory and Stone Bracelets of Tutankhamun


Both these pieces were regarded as anklets by Carter, but it seems more probable that they were bracelets. Flexible bead anklets fastened by ties or clasps were worn by women from predynastic times onwards and, exceptionally, by men as early as the Twelfth Dynasty. Rigid anklets, made of two hinged plates of metal, were a much later innovation; they were worn in the New Kingdom by both men and women.

The two kinds of anklets, flexible and hinged, are generally indistinguishable from bracelets; identification is only possible when they are found in situ on a body. Such evidence is not available in the case of these rings; both were found in the annex and not on the mummy. Size and the fact that each was made in one piece strongly suggest that they were bracelets; the stone example, moreover, belongs to a well-known type.

Ivory and Stone Bracelets of Tutankhamun

In design and decoration the style of these bracelets is simple without being plain. The ivory ring on the left has a fluted exterior surface and a triangular profile; on both sides the pattern is broken by an inset bronze or copper plate inscribed in gold and fixed with rivets. On one side the inscription gives Tutankhamun's throne name, Nebkheperura, followed by the epithet "ruler of order." It is a less common epithet than "ruler of Heliopolis of Upper Egypt" and its meaning is that his kingdom conformed with the order prescribed by the gods.

On the other side, the plate bears the king's throne and personal names, with the appropriate titles, and a heraldic device consisting of the king in the form of a sphinx trampling underfoot an Asiatic enemy. Behind the sphinx stands the lioness-headed goddess Sekhmet protecting the sphinx with her outspread wings, between which are the hieroglyphic symbols ankh and shen.

The stone ring on the right, which is made of fine quality crystalline limestone, was found broken. Its bulbous outer surface has a narrow flange at both edges. Along the central axis is inset a row of small diamond-shaped pieces of lapis lazuli bordered by gold wire. It has no symbolism or other evidence of its royal ownership.

The type, known by the name mesketu, is mentioned in historical texts and made of gold, it was one of the pieces of jewelry given to soldiers and officials as a reward for distinguished services.


Faience Scarab Pectoral

Faience Scarab Pectoral

Turquoise-blue glazed faience winged scarab, with holes for attaching to a mummy net. The scarab or dung beetle was seen as an earthly echo of the sun-god, moving as a disk across the sky, and therefore became a symbol of daily rebirth. 

Faience Scarab Pectoral

Large scarabs were placed over the heart from the Middle Kingdom, and pectorals incorporating the scarab are known from the New Kingdom. The faience winged scarabs appear in the Late Period as part of sets of amulets attached to bead-net mummy-coverings.

Pectoral of Khonsu


This pylon-shaped, or gateway-shaped, pectoral of Khonsu has a stone heart scarab fixed in its center. On the front of the pectoral, the two goddesses Isis and Nephthys decorate the right and the left of the scarab.

Pectoral of Khonsu


The underside of the pectoral contains seven lines of Spell 30b of the Book of the Dead. The upper part of the pectoral was pierced by four holes on each side, two of which still contain the ends of strings.

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