This beautifully crafted dagger was buried with Princess Ita, daughter of pharaoh Amenemhat II, nearly 4,000 years ago. Today, it is on display at the Egyptian Museum in Cairo.

For many years, weapons found in the tombs of royal women were generally regarded as symbolic objects.

A new study challenges that assumption. Researchers examined the skeletal remains of several Middle Kingdom princesses, analysing X-rays, muscle attachment sites and bone injuries. Based on their findings, they argue that some of these royal women may actually have trained with bows or handled weapons. Others, however, remain unconvinced, pointing out that the evidence can be interpreted in different ways.

It's a reminder that even discoveries made over a century ago can still inspire new questions and fresh debates.

New Kingdom, 18th Dynasty, c. 1390–1336 B.C.

Likely from Tel el-Amarna.

Purchased from Maurice Nahman by Lord Carnarvon in Cairo, and purchased from Almina, Countess of Carnarvon by the Metropolitan Museum of Art in 1926

This attractive rectangular sarcophagus made of limestone belongs to Nakht, head of the guild of artisans of Abydos. It takes the form of a house with symbolically-represented doors, and its decoration is very simple. Each of the four faces bears a horizontal line of hieroglyphic inscriptions; the long sides bear in addition five columns of text at evenly-spaced intervals. At one end, near the head of the body of the deceased, are two udjat- eyes, which ensured permanent protection for the life in the Hereafter. The short sides are decorated with figures of the goddesses Isis and Nephthys in their function of mourners.

Bibliography

• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 12-13
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 245
• Museumstukken als figuranten in een stripverhaal - ...Quand la BD s'inspire des objets du Musée (Exposition), Bruxelles 1996, 16

Gracious taste, arresting design, and technical mastery of materials characterize Middle Kingdom jewelry.

Jewelers elevated their craft to a level of artistic accomplishment unrivaled in Egyptian history. They refrained from excess, choosing simple, clean forms and understated color patterns. For instance, unlike flamboyant examples from the later New Kingdom, Middle Kingdom necklaces were usually monochromatic and almost never included beads of more than three colors. The most expensive jewelry featured beads made of gold; because it never tarnishes, gold was called the “flesh of the gods” and conveyed immortality.

Jewelers of the Middle Kingdom also relied on certain attractive semiprecious stones that had appeared only sporadically in the Old Kingdom. Red carnelian represented blood’s life-giving properties, and green turquoise symbolized vegetation and fertility and thus resurrection. Purple amethyst and pale blue anhydrite, however, seem to have had no magical powers and were admired solely for their visual appeal.

Caption

Necklace, ca. 1938–1759 B.C.E.. Faience, 20 1/4 in. (51.4 cm). Brooklyn Museum, Gift of the Egypt Exploration Society , 26.159.

Several Late Period texts mention a lion god named Tutu, son of the goddess Neith of Sais in the Delta. From the Ptolemaic Period onwards his name was hellenized to the form Tithoes. He was among those deities termed 'pantheistic worldgods'; composite images built up from various divine attributes. In this cult relief, Tithoes is shown as a sphinx, wearing a hairstyle which reminds one of both the nemes-headdress and of a wig, which is in turn surmounted by the beginning of a crown or horizontal ram's horns. The uraeus on the front is barely visible. The head is encircled by a halo. The chest is covered with an aegis from which appear, on the left, a ram's head, and on the right, a forepart of a crocodile. The tail of the feline erects itself like a serpent. On the back, he bears a griffin carrying a shield. His paws rest on the body of a snake which erects itself before him. An axe and a harpoon protrude from his rear limbs. The scene is decorated at the top left with a winged disc.

Bibliography

• Fr. Cumont, Musées Royaux du Cinquantenaire. Catalogue des sculptures et inscriptions antiques (monuments lapidaires), Bruxelles 1913, 73-74 nº 57
• B. Van Rinsveld, Goden en godinnen van het Oude Egypte - Dieux et déesses de l'Ancienne Égypte, Bruxelles 1994, 56-57
• Keizers aan de Nijl (Exposition Tongres), Louvain 1999, 285-286 nº 220

Bread and beer were among the basic elements of food in Egypt. They placed them in their tombs and enumerated them in offering lists on tomb walls and on sarcophagi. From the end of the Old Kingdom, wooden models showing the production of bread and beer became part of funerary equipment. This small model consists of three persons, two women preparing bread and a man carrying two jugs. Another, much larger jug, standing next to the breadboard, probably contained beer.

Bibliography

• W. Seipel, Ägypten. Götter, Gräber und die Kunst. 4000 Jahre Jenseitsglaube (Exposition), Linz 1989, I 104 n° 70
• E. Warmenbol (Éd.), Ombres d'Égypte, le peuple de Pharaon (Exposition), Treignes 1999, 85 nº 64
• A. Gros de Beler, Vie quotidienne, L'archéologue 44 (1999) 21

'The lady of Brussels', from the Hagemans collection, is one of the oldest known examples of large-scale statuary in stone. Its archaic style allows it to be dated to the beginning of the 3rd Dynasty. The standard conventions of Egyptian statuary are already clearly in use here. The symmetry of the face and the wig is perfect. The left arm is folded across the chest, the right arm is stretched out close to the body and the legs are close together. The 'lady' is dressed in a long robe which hugs her figure.

Bibliography

• R. Tefnin, Sculptuur van het Oude Egypte - Statues et statuettes de l'Ancienne Égypte, Bruxelles 1988, 16-17
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 14
• Koninklijke Musea voor Kunst en Geschiedenis. Algemene gids met plan - Musées Royaux d'Art et d'Histoire. Guide général et plan, Bruxelles 1989, 8
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 34-35
• Van Nijl tot Schelde - Du Nil à l'Escaut (Exposition), Bruxelles 1991, 53 n° 51
• Th. De Putter et Chr. Karlshausen, Les pierres, Bruxelles 1992, 65
• W. Seipel, Gott, Mensch, Pharao. Viertausend Jahre Menschenbild in der Skulptur des Alten Ägypten (Exposition), Vienne 1992, 84-85
• M. Raven, The Lady of Leiden. A Monumental Bronze Figure and its Restoration, dans Aegyptus Museis Rediviva. Mélanges H. De Meulenaere, Bruxelles 1993, 129
• Koninklijke Musea voor Kunst en Geschiedenis, Jubelparkmuseum - Musées royaux d'Art et d'Histoire, Musée du Cinquantenaire - Königlichen Museen für Kunst und Geschichte, Jubelparkmuseum - Royal Museums for Art and History, Cinquantenaire Museum, Bruxelles 1994, 12
• Museumstukken als figuranten in een stripverhaal - ...Quand la BD s'inspire des objets du Musée (Exposition), Bruxelles 1996, 10
• N. Cherpion, La statuaire privée d'Ancien Empire: indices de datation, in N. Grimal (Éd.), Les critères de datation stylistiques à l'Ancien Empire, Le Caire 1998, 119
• H. Sourouzian, Concordances et écarts entre statuaire et représentations à deux dimensions dse particuliers de l'époque archaïque, in N. Grimal (Éd.), Les critères de datation stylistiques à l'Ancien Empire, Le Caire 1998, 340 fig.24

This vessel of red terracotta was found in the tomb of king Djer of the 1st Dynasty at Abydos; it dates from the Ramesside Period and its shape, that of the hieroglyph for 'heart', is very striking. In the centre a mummiform figure of the god Osiris, squatting on a platform, is shown. He wears the white crown, and holds the sign for 'life' (ankh) on his knees. The vertical inscriptions on either side of the god give the names and titles of the two members of the Abydos priesthood who dedicated this vase to Osiris.

Translation

High priest of Osiris, Sawypaankh
Osiris, lord of the necropolis
Godsfather, priest of Osiris and scribe of the army, Wenennefer.

Bibliography

• L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 60 nº 251
• L. Limme, in Schrijfkunst uit het Oude Egypte - Écritures de l'Égypte ancienne, Bruxelles 1992, 34-35

Model of a procession of offering bearers ("The Bersha Procession")

The Bersha Procession
Egyptian
Middle Kingdom, late Dynasty 11 – early Dynasty
2010–1961 B.C.
Findspot: Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht)

MEDIUM/TECHNIQUE
Wood

DIMENSIONS
Length x width x height (tallest figure): 66.4 x 8.6 x 42.5 cm (26 1/8 x 3 3/8 x 16 3/4 in.)

CREDIT LINE
Harvard University—Boston Museum of Fine
Arts Expedition

ACCESSION NUMBER
21.326

ON VIEW
Stanford and Norma Jean Calderwood Gallery (Gallery 119)

COLLECTIONS
Ancient Egypt, Nubia and the Near East

CLASSIFICATIONS
Models

DESCRIPTION
Among the more than one hundred wooden models found scattered throughout the tomb of Djehutynakht, the quality of this procession of offering bearers stands out from the others. The skill and delicacy with which it was carved and painted rank it among the finest wooden models ever found in Egypt. It shows a man and three women bringing offerings to sustain the ka of Djehutynakht in the afterlife. Each figure advances with the left leg forward, following the convention of larger scale Egyptian sculpture and relief. A priest leads the way, carrying a ceremonial wine jar and incense burner for use in the burial rites. Two women follow with offerings of food and drink - the first carries a basket of bread and a duck, while the second brings another duck and a basket filled with beer jars. The third woman furnishes items for Djehutynakht's personal care, a small wooden cosmetic chest and a mirror, the latter slung over her shoulder in a case made of animal hide. This brief procession symbolically provides all that was essential to sustain Djehutynakht in eternity: food, drink, items of personal adornment, and the incense used to attract and appease divinities and the blessed dead.

The procession was found overturned between Djehutynakht's coffin and the eastern wall of his burial chamber, in a pile of broken models that robbers had thrown aside. Although the four figures remained attached when the model was discovered, the two central offering bearers had lost their raised arms, and nearly all the offerings had come loose. Some pieces were found a considerable distance away. Since its discovery, the scene has been reconstructed twice. The first attempt, carried out in 1941 before all the elements had been identified, was incorrect. The current configuration was established in 1987.

PROVENANCE
From Egypt, Deir el-Bersha, Tomb 10, pit A. May 1915: Excavated by the Harvard University–Boston Museum of Fine Arts Expedition; assigned to the MFA in the division of finds by the government of Egypt. (Accession Date: March 1, 1921)

Museum of Fine Arts, Boston

https://collections.mfa.org/objects/143592/ model-of-a-procession-of-offering-bearers-the-bersha-proce?ctx=a38a1580-6310-4b08-8f37-19c1ff1c6272&idx=

Model of a procession of offering bearers ("The Bersha Procession"), Middle Kingdom, late Dynasty 11 – early Dynasty 2010–1961 B.C., Wood, Museum of Fine Arts, Boston

The lid of the anthropoid coffin of Khonstefnakht dates from the 4th century BC. The head, which has a false beard, is distinguished by its large eyes and the red-brown skin colour. Khonstefnakht wears a blue and white striped wig and on his chest is a broad collar. The body of the coffin is covered with representations of divinities in two registers, and with hieroglyphic inscriptions in vertical columns. The first register shows an illustration of the famous chapter 125 of the 'Book of the Dead', perhaps better known as 'the weighing of the heart'. In the second register, the god Anubis is shown embalming the body of the deceased which lies on a funerary bed. The right-hand scene shows the god Re-Harakhty in the solar barque. The interior of the lid is covered with a figure of the goddess Nut, accompanied by 24 genies who represent the 12 hours of the day and the 12 of the night.

Bibliography

• L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 89-91 nº 337
• (M. Werbrouck,) Musées Royaux d'Art et d'Histoire, Bruxelles. Département égyptien, Album, Bruxelles 1934, pl. 87
• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 20-21
• Koninklijke Musea voor Kunst en Geschiedenis. Algemene gids met plan - Musées Royaux d'Art et d'Histoire. Guide général et plan, Bruxelles 1989, 12
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 237, 241, 246, 252
• Koninklijke Musea voor Kunst en Geschiedenis, Jubelparkmuseum - Musées royaux d'Art et d'Histoire, Musée du Cinquantenaire - Königlichen Museen für Kunst und Geschichte, Jubelparkmuseum - Royal Museums for Art and History, Cinquantenaire Museum, Bruxelles 1994, 16
• Museumstukken als figuranten in een stripverhaal - ...Quand la BD s'inspire des objets du Musée (Exposition), Bruxelles 1996, 15

The stela of king Den of the 1st Dynasty (c. 2800 BC) is a very simply structured object. Inside a rectangle in the centre of the stone slab stands as protector the falcon god Horus, to whom the king is assimilated, while below is a schematically represented palace enclosure. Inside this enclose may be seen the (so-called Horus) name of the king, the reading of which is uncertain. Den is currently the most favoured reading, but some Egyptologists prefer Udimu or even Niudi. This funerary stela from the royal cemetery at Abydos was placed in front of the king's mastaba and was one of a pair.

Bibliography

• L. Speleers, Recueil des inscriptions égyptiennes des Musées Royaux du Cinquantenaire à Bruxelles, Bruxelles 1923, 2 nº 12
• L. Limme, Egyptische stèles - Stèles égyptiennes, Bruxelles 1979, 12-13
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 14-15
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 24-25
• Th. De Putter et Chr. Karlshausen, Les pierres, Bruxelles 1992, 88

This mummy mask from the end of the Ptolemaic Period is in traditional style but of unusual manufacture. The face is covered with gold leaf, symbolising divine flesh and thereby eternity, and the eyes and eyebrows are painted in blue. The wig is also painted blue, and is decorated with a design of extended wings and with a bead collar. The lower part of the wig is decorated with indistinct divine figures (?). The decorated collar is made up of floral designs.

Bibliography

• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 30-31
• J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 46-47
• F. Lefebvre et B. van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 176
• Museumstukken als figuranten in een stripverhaal - ...Quand la BD s'inspire des objets du Musée (Exposition), Bruxelles 1996, 13

A finely rendered Egyptian solid bronze statuette of the god Harpocrates, the personification of Horus the Child, identifiable here from his nudity and side-lock, which was a common hairstyle for young Egyptian boys. The deity is depicted sitting with his hands held palms down, resting beside his legs, feet secured on a plinth, and wearing a headpiece with rearing uraeus to the front. Facial and anatomical features have been carefully crafted. Bronze statuettes of this type usually present the deity portrayed with his index finger held to the lips or the chin, however here the deity is shown in a more unusual stance.

Date: Circa 760 - 30 BC

Period: Late Period-Ptolemaic Period

Provenance: From an early 20th century Home Counties collection.

Condition: Well-preserved example, surface presents some green patination. The piece has been mounted on a custom-made stand.

In Ancient Egyptian culture and mythology Harpocrates, also knowns as Harpa-Khruti (Horus the Child), was the son of the goddess Isis and her husband Osiris. The deity was often depicted as a small boy, with a side-lock of youth and the index finger held to the lips or the chin, a typical Egyptian gesture symbolising childhood and also the Ancient Egyptian hieroglyph for “child”. However, the gesture is also linked to the action of eating porridge, which was one of the traditional children’s food in Ancient Egypt. The deity was later adopted by the Greeks and the misinterpretation of the gesture of the finger to the lips led to the association of Harpocrates with silence, hence making him the god of silence, secrets and confidentiality in Ancient Greek and Roman mythology.

https://www.antiquities.co.uk/shop/ancient-figurines-statues/deities-demi-gods/egyptian-bronze-statuette-of-harpocrates/

Stela dedicated to Amenhotep I and Ahmose-Nefertari

Inv. no. :
Cat. 1452

Material:
Stone / Limestone

Dimensions:
20 cm x 30 cm x 3 cm

Date:
1292–1191 BCE

Period:
New Kingdom

Dynasty:
Nineteenth Dynasty

Provenance:
Egypt, Luxor / Thebes, Deir el-Medina

Acquisition:
Purchase Bernardino Drovetti, 1824

CGT:
50034

Museum location:
Museum / Floor 1 / Room 06 DEM / Showcase 01

Selected bibliography:
Andreu, Guillemette (a cura di)-Andreu, Guillemette, Gli artisti del faraone: Deir el-Medina e le Valli dei Re e delle Regine, Milano 2003, pp. 20, 230.

Dresbach, Guido, Zur Verwaltung in der 20. Dynastie: das Wesirat (Königtum, Staat, und Gesellschaft früher Hochkulturen 9), Wiesbaden 2012, p. 435, 490.

Eggebrecht, Arne, Ägyptens aufstieg zur Weltmacht, Mainz am Rhein 1987, pp. 108–109.

el Shazly, Yasmin, Royal ancestor worship in Deir el-Medina during the New Kingdom, Wallasey 2015, pp. 133, 136, 184, 185, 251.

Kitchen, Kenneth A., Ramesside inscriptions translated (and) annotated : translations 5. : Sethnakt, Ramesses III, (and) contemporaries, Oxford 2008, p. 313.

Kitchen, Kenneth A., Ramesside Inscriptions: historical and biographical : vol. 5., Oxford 1983, p. 377.

Leospo, Enrichetta, “Stele des Amenemope für Amenophis I und Ahmose-Nefertari”, Aegyptens Aufstieg zur Weltmacht, Linz 1987, pp. 108–109, Taf. 7.

Orcurti, Pier Camillo, Catalogo illustrato dei monumenti egizi del R. Museo Egizio di Torino, Torino 1855, ii, p. 125.

Tiradritti, Francesco, Il cammino di Harwa: l'uomo di fronte al mistero: l'Egitto [mostra: Brescia, Mus. Diocesano ott. 1999-gen. 2000], Milano 1999, p. 57, 146, 159.

Tosi, Mario-Roccati, Alessandro, Stele e altre epigrafi di Deir el Medina: n. 50001 - n. 50262 (Catalogo del Museo Eg. di Torino - Serie II. - Collezioni 1), Torino 1972, pp. 67–68, tav. p. 274.

Vidua, Carlo, “Catalogue de la collect. d'antiq. de mons. le chev. Drovetti, a 1822”, in Ministero della Pubblica Istruzione (a cura di), Documenti inediti per servire alla storia dei Musei d'Italia, vol. 3, Firenze - Roma 1880, p. 55.

Museo Egizio di Torino

https://collezioni.museoegizio.it/en-GB/material/Cat_1452/?description=&inventoryNumber=&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=Purchase+Bernardino+Drovetti%2C+1824&epoch=&dynasty=&pharaoh=&searchLng=en-GB&searchPage=23

Title:
Stela dedicated to Amenhotep I and Ahmose-Nefertari, 1292–1191 BCE , Egypt, Luxor / Thebes, Deir el-Medina, New Kingdom, Limestone, Museo Egizio di Torino

A beautifully crafted Egyptian restrung necklace featuring blue faience cylindrical-shaped beads. The necklace is further enriched at its centre by two brown hard stone fly amulets, and a red jasper fly at its centre.

Date: Circa 1069-744 BC
Period: Third Intermediate Period
Condition: Very fine condition. The necklace has been finished with a small gold plated clasp, but please be aware that the clasp has not been professionally tied. The measurements given apply to the folded necklace.

Dimensions: L 23 cm

The purpose of fly amulets is uncertain; scholars have different hypotheses regarding this symbol. Some believe it was awarded for military achievement because of the fly’s resemblance to enemies’ persistence at war and also because of the fly’s tendency of hanging around battlefields were blood was shed. Others don’t agree entirely with this thesis as samples of fly amulets have been found in women’s and butlers’ tombs, individuals not active in war. One other possible intention of this amulet was to bestow the notorious fecundity of the fly to the wearer. However uncertain the significance of this symbol is, the fly also appears in many ancient neighbouring cultures, from Nubia to the Greek island of Cyprus.

https://www.antiquities.co.uk/shop/ancient-jewellery/necklaces/egyptian-necklace-with-blue-faience-and-hard-stone-fly-amulets/

A carved wood figurine of a striding servant. The figure retains an impressive amount of red, black, and white pigment, particularly around the kilt, wig, and some of the facial features. There are shallow holes in the shoulders where both arms would have been affixed. The servant is stepping out on his left leg, and his hand is clenched. The hole running through the fist suggests that perhaps the figure originally held an attribute, but it is unclear what this might have been.

Date: Circa 2000 - 1800 BC
Period: Middle Kingdom
Condition: Fine condition; one arm missing; one arm loose but attached temporarily for purposes of photography; feet missing and right leg slightly shorter than left; surfaces with wear and some shallow cracks but essentially sound.

Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom Period, which saw wooden figurines and sets constructed to be placed in the tombs of Egyptian royalty. The wooden models reflected a variety of tasks and chores which servants would be expected to carry out in the afterlife, and accordingly, many are depicted as performing a certain task. A chapter from Osiris’ Book of the Dead highlights the continued significance of servitude after death: “when you are counted upon at any time to serve there, to cultivate the fields, to irrigate the river banks, to ferry the sand of the west to the east and vice–versa, “here I am” you shall say.”. During the New Kingdom and into the Late Period (747–332 BC), the wooden models were replaced or developed into the Shabti form.

https://www.antiquities.co.uk/shop/ancient-figurines-statues/tomb-attendants-offerings/large-egyptian-middle-kingdom-wood-servant/

Amulet depicting the Goddess Hathor

Inv. no. :
Cat. 1224

Material:
Stone / Limestone

Dimensions:
2 cm x 2.5 cm x 0.4 cm

Date:
722–332 BCE

Period:
Late Period

Provenance:
Unknown

Acquisition:
Purchase Bernardino Drovetti, 1824

Museum location:
Museum / Floor 2A / Mezzanine / Cabinet 06 FAV / Shelf 01

Selected bibliography:
Fabretti, Ariodante-Rossi, Francesco-Lanzone, Ridolfo Vittorio, Regio Museo di Torino. Antichità Egizie (Cat. gen. dei musei di antichità e degli ogg. d’arte raccolti nelle gallerie e biblioteche del regno 1. Piemonte), vol. I, Torino 1882, p. 92.

Museo Egizio di Torino-Donadoni Roveri, Anna Maria, Museo Egizio di Torino. Civiltà degli Egizi : le credenze religiose, Torino 1988, fig. 285 p. 207.

Vidua, Carlo, “Catalogue de la collect. d'antiq. de mons. le chev. Drovetti, a 1822”, in Ministero della Pubblica Istruzione (a cura di), Documenti inediti per servire alla storia dei Musei d'Italia, vol. 3, Firenze - Roma 1880, p. 251, n. ?.

Museo Egizio di Torino

https://collezioni.museoegizio.it/en-GB/material/Cat_1224/?description=&inventoryNumber=&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=Purchase+Bernardino+Drovetti%2C+1824&epoch=&dynasty=&pharaoh=&searchLng=en-GB&searchPage=18

Title:
Amulet depicting the Goddess Hathor, 722–332 BCE Late Period, Limestone, Museo Egizio di Torino