Statuette of Sapair

 This is a rare example of Egyptian glass statuettes. It represents a man sitting on a throne with a high back, his arms rest on his knees. He wears a long garment, short wig covering his ears and wide collar. On the back of the throne there is a vertical column of incised gilded hieroglyphs: "Sapair, true of voice". A complexity of technology made glass statuettes a luxury and, probably, they were manufactured only in royal workshops; at least most of them represent kings. Our piece may be stylistically dated to the late Eighteenth Dynasty.

Present location	STATE HERMITAGE MUSEUM [10/002] PETERSBURG
Inventory number	752
Dating	18TH DYNASTY
Archaeological Site	UNKNOWN
Category	FIGURINE/STATUETTE
Material	GLASS
Technique	GLASS-TECHNIQUE
Height	3.7 cm

Translation

Sapair true of voice.

Bibliography

• Golenischeff W., Ermitage Imperial. Inventaire de la collection egyptienne. S.l., 1891, p.92, no.752.
• Flittner N.D., Stekolno-keramicheskie masterskie Tel'-Amarny, Ezhegodnik Rossiiskogo instituta istorii iskusstva, v.I, Petrograd, 1922, p.139, tab. XII,4.
• Lapis I.A., Matthieu M.E., Drevneegipetskaya skul'ptura v sobranii Gosudarstvennogo Ermitazha. Moscow, 1969, pp.76-77, cat.no.73, tab. I,73, fig.48.
• Landa N.B., Lapis I.A., Egyptian Antiquities in the Hermitage. Leningrad, 1974, pl.95

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COFFIN/SARCOPHAGUS/CARTONNAGE

Present location	MUSÉE ROYAL DE MARIEMONT [07/009] MARIEMONT
Inventory number	Ac.65/40
Dating	PTOLEMAIC PERIOD
Archaeological Site	UNKNOWN
Category	COFFIN/SARCOPHAGUS/CARTONNAGE
Material	LINEN; MAN MADE MATERIAL; GLASS
Technique	GOLD FOILED; STUCCO; PAINTED; INLAY
Height	202 cm
Width	165 cm
Depth	8 cm

Bibliography

• Œuvres d’art acquises par l’État en 1965, n° 371; Musées de Belgique, 1965, p. 10, fig. 2; Rome, ses origines et son empire (catalogue d’exposition. Morlanwelz, Musée de Mariemont, 7 mai - 31 octobre 1966) (Trésors inconnus du musée de Mariemont, 1), n° 207; S. THIERRY, «Le musée royal de Mariemont», in L’Oeil, n° 278, septembre 1978, fig. p. 23; Cl. DERRIKS, Choix d’œuvres, I, Égypte, Morlanwelz, 1990, n° 37; Cl. DERRIKS, «Une parure de cartonnage», in Cahiers de Mariemont, 36, 2008, p. 7-18; C. TALON, «Étude technologique et conservation d’un masque en cartonnage doré d’époque ptolémaïque», in Cahiers de Mariemont, 38, 2008, p. 19-28; Cl. DERRIKS et L. DELVAUX (éds.), Antiquités égyptiennes au Musée royal de Mariemont, Morlanwelz, 2009, p. 370-371.

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TT341, the tomb of Nakhtamon

Nakhtamon advances, his arms raised (see eh-46). The folds of his stomach and extreme size of his pleated garment, are stylistic criteria of this date. Behind him is his wife, whose long wig is surmounted by the cone of ointment and the usual lotus flower. She holds in her left hand a holy water sprinkler as well as a Hathoric sistrum which produces the noise of a rattle. This is supposed to attract the goddess Hathor out of the mountain of the west so that she takes the deceased in her lap where he will be able to be reborn again of his own work.
 
 This evidently works, since the goddess can be seen in the form of a cow, which is extended half out of the mountain. She has on her head a combination of a sun disk inside a lyriform pair of horns, surmounted with a pair of feathers, usually associated with the goddess. It is completed here, at the front, with a uraeus. Around the neck of the cow is another of this form of Hathor's typical attributes, the menat-necklace.

TT341, the tomb of  Nakhtamon

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Limestone stela of Penbuy

 Limestone stela of Penbuy

Almost certainly from Deir el-Medina, Egypt
19th Dynasty, around 1250 BC

A royal craftsman shown adoring the god Ptah

This colourful stela is one of two in the British Museum which belong to Penbuy, who was a workman and guardian of the royal tombs of Ramesses II in the Valley of the Kings. On both stelae he is shown worshipping Ptah, the god most commonly associated with craftsmen. Ptah sits in a shrine with offerings before him, and behind him are seven ears. These ears have been interpreted either as an expression of the willingness of the god to listen, or as a magical compulsion to ensure the god hears. The stela of Mehia, also in The British Museum, is decorated with 44 ears.
In the lower register, in addition to Penbuy, are a pair of upraised arms (the hieroglyph ka) combined with part of the hieroglyph for offerings (hetep). The hieroglyph ka is also used in another word for offerings, so clearly the mixture of two signs stresses Penbuy's request for sustenance from Ptah.
G. Pinch, Magic in Ancient Egypt (London, The British Museum Press, 1994)
M.L. Bierbrier (ed.), Hieroglyphic texts from Egyp-6, Part 10 (London, The British Museum Press, 1982)
S. Quirke and A.J. Spencer, The British Museum book of anc (London, The British Museum Press, 1992)


British Museum
britishmuseum.org

Aryballos

Aryballos (perfume vase) in the form of two heads, fourth quarter of 6th century b.c.; Archaic

East Greek; Said to be from Tarquinia, in Etruria, probably at Naukratis
Faience; H. 2 1/8 in. (5.38 cm)
Bequest of Walter C. Baker, 1971 (1972.118.142)


This perfume vase formed of two heads with Egyptianizing wiglike hair was probably made at Naukratis, a Greek trading post in the Nile Delta.

Met Museum
metmseum.org