r/OutoftheTombs

Though fragmentary, the decoration on this gold band from the neck of a mostly missing silver vessel suggests the vessel held intoxicating drink.

The Hathor heads point to the vessel's close association with Hathor, daughter of the sun-god Re, and the flanking animals, in this case lion cubs rather than the usual cats, are a reference to Sakhmet / Bastet. All these goddesses are associated with the tale of the Distant Goddess. The Distant Goddess myth subsumes that of the Destruction of Mankind - a tale of the rampaging goddess who was only halted by intoxication. Additionally, particular festivities associated with Eye of Re goddesses seem to encourage drunkenness as a way of transcendence and association with divinity.

• Title: Neck from a vessel depicting the goddess Hathor flanked by felines
• Period: New Kingdom, Ramesside
• Dynasty: Dynasty 19
• Reign: Ramesses II or slightly later
• Date: ca. 1279–1213 B.C.
• Geography: From Egypt, Eastern Delta, Tell Basta (Bubastis), Temple of Bastet, ancient cache
• Medium: Silver, gold
• Dimensions: H. 8 cm (3 1/8 in.); Diam. 5.4 cm (2 1/8 in.)
• Credit Line: Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915
• Object Number: 30.8.37\/The Met

Heart Amulet

1069–715 BCE
Egypt, Third Intermediate (1069–715 BCE) or later

Medium
Deep turquoise-blue faience

Measurements
Overall: 3 x 2.1 x 1 cm (1 3/16 x 13/16 x 3/8 in.)

Credit Line
Gift of the John Huntington Art and Polytechnic Trust 1914.780

Location
Not on view

Provenance
Purchased in Egypt by Lucy Olcott Perkins through Henry W. Kent

Citations
Berman, Lawrence M., and Kenneth J. Bohač. Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced: p. 515; Mentioned: p. 515-6

Cite this Artwork-
Heart Amulet, 1069–715 BCE. Egypt, Third Intermediate (1069–715 BCE) or later. Deep turquoise-blue faience; overall: 3 x 2.1 x 1 cm (1 3/16 x 13/16 x 3/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1914.780

The Cleveland Museum of Art

https://www.clevelandart.org/art/1914.78

Heart Amulet, 1069–715 BCE. Third Intermediate (1069–715 BCE) or later. Deep turquoise-blue faience; overall. The Cleveland Museum of Art.

Was it stolen?

Heart Amulet Surmounted by a Ram's Head
664–525 B.C.E. or later

Caption
Heart Amulet Surmounted by a Ram's Head, 664–525 B.C.E. or later. Faience, 2 1/4 x 15/16 in. (5.8 x 2.4 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 37.887E. (Photo: Brooklyn Museum)

Gallery
Not on view

Collection
Egyptian, Classical, Ancient Near Eastern Art

Key information

Title
Heart Amulet Surmounted by a Ram's Head

Date
664–525 B.C.E. or later

Dynasty
Dynasty 26, or later

Period
Late Period

Geography
Place made: Egypt

Medium
Faience

Classification
Accessory

Dimensions 2 1/4 x 15/16 in. (5.8 x 2.4 cm)

Credit Line
Charles Edwin Wilbour Fund

Accession Number
37.887E

Catalogue description
Light green faience heart amulet surmounted by a ram's head crowned with a sun-disk and a uraeus. The details of the heart are given in incised lines. There is a loop behind the sun-disk.

Condition:
The piece is complete except for small chips on the sun disk, left horn, and lower part of the heart. the color has faded to white on the shoulder of the heart.

Have information?
Have information about an artwork? Contact us at
bkmcollections@brooklynmuseum.org.

The Brooklyn Museum

https://www.brooklynmuseum.org/objects/117478

Heart Amulet Surmounted by a Ram's Head, 664–525 B.C.E. or later, Dynasty 26, or later, Late Period, Faience, The Brooklyn Museum

Model group; boat; figure

Object Type
model group
boat
figure

Museum number
EA41574
Description
Wooden model of sailing-boat: the hull is rather narrow, with moderate sheer; bow lower and more narrow than stern, which has notch for steering-oar; exterior devoid of paint. Deck flush and not cambered, so that raised gunwales are absent; painted white with deck-plan and outer edges in red. The painted centre-strip runs the full length of the vessel; the fore-deck is marked only by a normal painted thwart, but the after-deck is marked by an exceptionally broad painted band. There are seven white rectangles on each side; the midships pair are separated by the usual mast-space. The point of the fore-deck is painted black. In the after part of the vessel is an open-sided cabin, consisting of a rounded top supported on either side by four posts, the latter strengthened each side with a single cross-piece tied to them about half-way up. The rounded roof is yellow edged with black to represent leather strips which have white markings edged with black to indicate the lashings which hold them in place; the roof of the cabin is also decorated on each side with two paintings of round-topped shields, alternately white with black markings and black with white markings. The cabin is open to the stern. Immediately abaft the cabin stands a steering-post which has been trimmed roughly to an octagonal section but has no groove on top. To it was lashed the butt of the steering-oar, which was also lashed to the notch on the stern; the present lashings are modern. The tiller was broken off, only the stump remaining. In the bows stands the pilot with right arm extended and left hanging down. Between mast and cabin stand three sailors hauling on the rigging, while forward of the mast are two other members of the crew facing aft and heaving on quant-poles as if to push the boat off a sandbank; they are leaning forward with almost straight bodies, one arm and shoulder pressing on the quants while their disengaged arms are supposed to be pressing on the deck to obtain greater leverage; actually the hands do not quite touch the deck. The human figures on board have red bodies, white skirts, and short black wigs; it is noticeable that both the men working the rigging and those pushing on the quants have their legs well separated so as to get a good purchase on the deck. The helmsman sits in the stern, left arm at 45 degree with the body, right arm straight in front to grasp the tiller, which is missing; the stump is sticking out of the hole in the shaft of the steering-oar. In the cabin squats the figure of the owner of the boat; he has his right arm forward at an angle of about 45 degrees and his left arm slightly forward. Behind him are two round-topped travelling trunks placed one on top of the other and painted red and yellow. All the standing sailors except the pilot, as well as the owner, still have the remains of the original fabric skirts. No facial features carved except noses; eyes are painted on. Arms are pegged to shoulders and cut off straight at ends; hands are not shaped.

Cultures/periods
12th Dynasty

Findspot
Found/Acquired: Beni Hasan, Tomb 723
Africa: Egypt: Minya, el- (Governorate): Beni Hasan

Materials
wood

Type series
Reisner Type II

Technique
painted

Dimensions
Height: 53 centimetres
Length: 69.80 centimetres
Length: 87 centimetres
Depth: 31 centimetres

Curator's comments
As received by the Museum the mast and rigging were in disorder, but photographs taken by the excavator on the site show that the mast, yards and rigging, and the rolled-up sail originally rested in part on the cabin top and in part on the figures of the crew. The spars are slight twigs with much of the original bark and the minimum of trimming, and the samecomment applies to two quant-poles on which men are shown as pushing; these were 'in situ' when the boat was found.

The boat comes from the tomb of Sobkhetepi (no. 723), and was found lying on top of the outer wooden coffin (1905,0516.1), J. Garstang, 'The Burial Customs of Ancient Egypt' (London, 1907), fig. 170, together with a second boat (1905,0516.5.a), a model granary (1905,0516.3), a model of brewing, baking and butchering (1905,0516.6), and a wooden figure of a serving-girl with a basket on her head (not in the collection).

Bibliography:
J. Garstang, 'The Burial Customs of Ancient Egypt' (London, 1907), 237.

Bibliographic references
Glanville 1972 / Catalogue of Egyptian Antiquities in the British Museum II: Wooden Model Boats (12)

Location
Not on display

Exhibition history
Exhibited:
2005-2006 5 Nov-15 Mar, Valencia, Art Galore

Condition
Apart from the broken tiller and the decayed raffle of sail and cordage, the model is in exceptionally good condition.

Acquisition name
Purchased from: F G Hilton Price

Acquisition date
1905

Department
Egypt and Sudan

BM/Big number
EA41574

Registration number
1905,0516.4

Conservation
Treatment: 26 Sep 2005
Treatment: 14 Oct 2005
Treatment: 27 Jan 1997
Treatment: 24 Apr 2006

The British Museum

https://www.britishmuseum.org/collection/object/Y_EA41574

Model group; boat; figure, 12th Dynasty, The British Museum

On both its inner and outer faces the stone enclosure wall around the pyramid of Senwosret I at Lisht was decorated with one hundred relief panels, four of which have been reconstructed here using excavated fragments. The panels represent an image of the world according to ancient Egyptian beliefs. Between the fertile land below and the falcon of the sky above lies the realm of the pharaoh, symbolized by the ornate facade of his palace. Each rectangular field above the palace facade contains Senwosret's Horus name, "Living in births." The two panels on the near side of the gallery door also proclaim his throne name, Kheperkare ("The evolution of Re's life force"). The king's birth name, Senwosret ("Man of the powerful [goddess]"), is added to his Horus name on the panel closest to the window.

To fit the available space in the gallery, the distance between the panels, once between 14 and 14 1/2 feet, has been much reduced, as has been the original height of 17 1/4 feet.

• Title: Name Panels from the Inner Wall of Senwosret I's Pyramid Complex
• Period: Middle Kingdom
• Dynasty: Dynasty 12
• Reign: reign of Senwosret I
• Date: ca. 1961–1917 B.C.
• Geography: From Egypt, Memphite Region, Lisht South, Pyramid Temple of Senwosret I, MMA excavations, 1907–34
• Medium: Limestone
• Dimensions: 34.1.205: 419.1 x 117.5 cm (165 x 46 1/4 in.) 34.1.206: 441.3 x 104.8 cm (173 3/4 x 41 1/4 in.) 34.1.207: 416.9 x 26.7 cm (164 1/8 x 10 1/2 in.) 34.1.208: 438.5 x 116.8 cm (172 5/8 x 46 in.)
• Credit Line: Rogers Fund, 1909, 1933, 1934
• Object Number: 34.1.205–.208-related/The Met

The peasant, feet deep in the sodden ground, trudges behind the hook-shaped plow pulled by two oxen. Ancient Egyptian plows were made of wood and had the shape of a hook. It is not possible to turn the soil with such plows, they only serve to open the ground. The ultimate aim of this kind of plowing was, therefore, to place the seeds well into the soil. Texts appear to indicate that while a plow may have been the farmer's property, the oxen were leased by state or temple institutions. Egyptians believed that they also had to work in the fields in the afterlife; and this may be the reason why a model such as this was included in among burial equipment.

Title: Model of a Man Plowing

Period: Middle Kingdom

Dynasty: early to mid-Dynasty 12

Date: ca. 1981–1885 B.C.

Geography: From Egypt

Medium: Painted wood

Dimensions: H. 20 cm (7 7/8 in.); L. 49.8 cm (19 5/8 in.); W. 19.4 cm (7 5/8 in.)

Credit Line: Gift of Valdemar Hammer Jr., in memory of his father, 1936

Object Number: 36.5/The Met

The ancient Egyptians adored the dung beetle as a symbol of the daily passage of the sun, as it pushed the dung ball forward it mirrored the sun disk moving across the sky. From the First Intermediate Period to the Late Period, the scarab was a popular shape for small amulets and stamp seals as a symbol for creation and resurrection. Already in the early 2nd millennium B.C., Egyptian scarab seals spread to the Levant and Crete and soon local imitations began to appear.

On the underside of this scarab, an aroused cobra (uraeus) is placed in front of a figure of the god Seth-Baal, identified by his outstretched wing, long ears and snout. Above him is a sun disk. Such representations were very popular on stamp seals during the late New Kingdom, when Seth became a kind of patron deity of the kings of the Ramesside dynasties (Dynasty 19–20, ca. 1295–1070 B.C.). Seth was closely identified with the Near Eastern god Baal, becoming a ‘hybrid’ deity, the winged Seth-Baal.

• Title: Scarab with a Representation of Seth-Baal and Uraeus
• Period: New Kingdom
• Dynasty: Dynasty 19–20
• Date: ca. 1295–1070 B.C.
• Geography: From Egypt, Memphite Region, Lisht North, Cemetery, MMA excavations
• Medium: Light green faience
• Dimensions: L. 2.1 × W. 1.4 × H. 0.9 cm (13/16 × 9/16 × 3/8 in.)
• Credit Line: Rogers Fund and Edward S. Harkness Gift, 1922
• Object Number: 22.1.425/The Met

The wrapped body, scepters, and white crown characterize Osiris, and appear on innumerable copper alloy statues from the first millennium BCE. Notably, however, this statuette has facial features that recall early Ramesside royal sculpture, such as a curving nose, and a wide slightly smiling mouth. These stylistic features indicate it is one of the still relatively rare copper alloy figures that date to the early centuries of the first millennium BCE, when the nineteenth dynasty (ca. 1295-1184 BCE) represented the model of choice. Traces of inlays are preserved in the eyes, brows, beard straps and scepters. The beard itself is missing.

At the crown and foot and at certain points of damage in the surface the fine-grained grayish casting core inside the statue can be seen. This statue provides a remarkably preserved illustration of ancient Egyptian casting technique, discussed in detail on the Conservation and Scientific Analysis tab.

• Title: Osiris
• Period: Third Intermediate Period
• Dynasty: Dynasty 21–25
• Date: ca. 1070–664 B.C.
• Geography: From Egypt
• Medium: Copper alloy, stone
• Dimensions: H. 33.2 × W. 10.1 × D. 5.6 cm (13 1/16 × 4 × 2 3/16 in.)
• Credit Line: Gift of Elisha Dyer, in memory of George R. Dyer, 1941
• Object Number: 41.6.4/The Met

Heart Amulet
New Kingdom, Ramesside
ca. 1295–1070 B.C.

Not on view

For the ancient Egyptians, the heart (ib) was the source of intelligence, feelings, and actions. A person's memory was also housed in the heart and so at the judgment ceremony (Weighing of the Heart) in the afterlife, the heart was able to speak on behalf of the deceased, accounting to Osiris for a lifetime of deeds. Therefore, heart amulets were only used on the mummy to protect the owner's organ and to ensure that his heart gave a positive response at judgment.

Overview

Title: Heart Amulet

Period: New Kingdom, Ramesside

Date: ca. 1295–1070 B.C.

Geography: From Egypt

Medium: Red jasper

Dimensions: H. 2.9 × W. 2.3 × D. 1.5 cm (1 1/8 × 7/8 × 9/16 in.)

Credit Line: Gift of Helen Miller Gould, 1910

Object Number: 10.130.1795

Curatorial Department: Egyptian Art

Provenance
1883-1907, purchased by Reverend Chauncey Murch (1856-1907) [1]; 1907, inherited by Amelia Sophronia Murch, née Canfield; 1910, purchased by the Metropolitan Museum of Art with funds provided by Helen Miller Gould.

[1] Collected while Murch was a Presbyterian missionary in Luxor, Egypt, frequently from Mohammed Mohassib (1843-1928).

The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/545420

Heart Amulet, New Kingdom Ramesside, ca. 1295–1070 B.C., Jasper, The Metropolitan Museum of Art

Statuette of the Goddess Thoëris (or Taweret)

Object Number
BSAe III 01513

Cultural area
Egypt

Epoch
Late Period (Egypt)

Basic information
Limestone, H. 11.4 cm Late period, 26. Dynasty, 664–525 BC Inv. BSAe III 01513

Provenance
Depositum Museum of Cultures, Basel. Until 2005 Museum of Cultures, Basel. 1903 Donation by Rudolf Nötzlin-Werthemann (1840–1911) to the Ethnology Museum, Basel. Acquired at the Museum Bulaq, Cairo.

Description
The largely intact limestone statuette of the patron goddess Thoëris is of fine quality. She is a mixed creature of hippo, lion and crocodile. With her short hippo legs, Thoëris stands on a rectangular base plate, which is damaged at the left corner. The mouth of the hippopotamus head is half open and makes the carefully executed teeth visible with the large canines and the small incisors. Nostrs and eye ams are plastically highlighted. A strand wig connects the head with the pregnant hippo body. Its back is formed by a crocodile's back. The human arms, which end in lion pranks, are slightly bent and led forward to the pregnant body. The equally human breasts hang down heavily. Their urtal mixed shape is composed of pregnant hippo, lion and crocodile, all powerful animals that could be dangerous to humans on the Nile. In magic, on the other hand, they opposed its protection. Especially the pregnant hippopotamus, which protects its young, was rated positively as a donor of fertility and food.

Bibliography
H. Schlögl (ed.), gift of the Nile. Egyptian works of art from Swiss ownership (Basel 1978) 90, No. 306.

Antikenmuseum Basel

https://antikenmuseumbasel.zetcom.net/en/collection/item/74657/

Statuette of the Goddess Thoëris (or Taweret), Dynasty 26 Late period 664–525 BC, Limestone, Antikenmuseum Basel

Heart Amulet

Accession Number
AB7

Current Location
House of Death (ground floor), Amulets case, Shelf 2

Object Type
Jewellery, Amulet

Periods
Third Intermediate Period to Late Period

Material
Stone/minerals (Jasper)

Provenance
Egypt

Weight (grams)
4 grams.

Number of Elements
1

Measurements
Height: 25mm | Width: 16mm | Depth: 6mm

Description
A red jasper heart amulet. This appears to be a cornice heart amulet (Sousa 2011, 17–20), which dates at the earliest to the Twenty-first Dynasty, though most are Late Period. It was a gift from University of Wales, Aberystwyth. To the Egyptians the heart was the most important organ of the body, the seat of intelligence and feeling. It was the heart that was weighed on the balance in the afterlife to judge whether or not a person should live again. Only two heart amulets are known before the New Kingdom, but once established this amulet was so important that it appeared on every mummy. Red stones were most commonly used. Four chapters of the Book of the Dead were concerned with not taking a man's heart away. Spell 26 is the 'Spell for giving the deceased's heart to him in the realm of the dead'. Spell 29B is for a heart amulet of carnelian. Spell 30B of the Book of the Dead is for the heart amulet. The importance of the heart is made clear in Chapter 30B of the Book of the Dead; a plea for the heart not to oppose the deceased before the tribunal. The heart was the essence of the person, their seat of intellect and emotion. Indeed, the weighing of the heart scene was associated with Spell 30B before it became associated with Spell 125 (Gee 2009, 4–5). However, Sousa (2011) associates the cornice heart amulet with the child deities, such as Harpocrates, who were particularly popular in the Late Period. He further suggests that such amulets may well have been worn during life.

Bibliography
Andrews, Carol 1994. Amulets of ancient Egypt. London: The British Museum Press.

Gee, John 2009. Of heart scarabs and balance weights: a new interpretation of Book of the Dead 30B. Journal of the Society for the Study of Egyptian Antiquities 36, 1–15.

Naguib, Saphinaz-Amal 1994. Interpreting abstract concepts: towards an attempt to classify the ancient Egyptian notion of person. Discussions in Egyptology 29, 99–124.

Piankoff, Alexandre 1930. Le "cœur" dans les textes égyptiens depuis l'Ancien jusqu'à la fin du Nouvel Empire. Paris: Paul Geuthner.

Sousa, Rogério 2007. The meaning of the heart amulets in Egyptian art. Journal of the American Research Center in Egypt 43, 59–70.

Sousa, Rogério 2011. The heart of wisdom: studies on the heart amulet in ancient Egypt. BAR International Series 2211. Oxford: Archaeopress.

Object History

Previous Owner
Aberystwyth University

Acquisition
Gift, Aberystwyth University (24 Mar 1997)

The Egyptian Centre

https://egyptcentre.abasetcollections.com/Objects/Details/959?SavedSelections=$Search-Heart$Page-1

Heart Amulet, Third Intermediate Period to Late Period, Jasper, The Egyptian Centre

Last modified: 27 Mar 2026

"Sekhmet, She for Whom the Skies open at once when She shows Herself in splendor"

(From the Litany of Sekhmet in the Temple of Horus at Edfu)

The Deity Who presides over today is

Sekhmet (Dendara VII, 101, LII)

Religious Prescriptions:

𓊢𓊢𓊢 (meaning that it is an adverse day)

In the photo,

"Sekhmet the Great-one, the beloved of Ptah"

(translation of the hieroglyphics on the top right)

represented lioness-headed, wearing the Solar disk encircled by the Uraeus, and raising Her left hand in blessing.

"Temple of Millions of Years" of King Sethi I (ca. 1294–1279 BCE, 19th Dynasty) at Abydos,

Shrine of Sokar,

north wall, lower register detail from the 1st scene

According to the king list compiled by the priest Manetho of Sebennytos (3rd century BCE), King Djer, the third ruler of the First Dynasty, was said to be a physician who wrote treatises on anatomy and also practiced magic, setting an example for generations of rulers to come. This pattern seems to hold for most, if not all, kings of Egypt: magic was considered an essential part of royal authority itself.

By the Old Kingdom, the most celebrated master of magic was Imhotep. His reputation spread far beyond Egypt’s borders, and the Greeks came to equate him with their own god of medicine, Asclepius. By the New Kingdom, Imhotep had become a near sacred figure among scribes, who would pour out a small libation of ink in his honor before beginning any scientific text.

Imhotep stands as the model of the scholar magician in ancient Egypt, not a village healer improvising cures, but a statesman first and foremost. He served as vizier to King Djoser, first king of the Third Dynasty, and is credited as the mind behind Egypt’s monumental stone architecture, embodied in his masterpiece: the Step Pyramid of Saqqara. His mastery of magic was one of the pillars of his extraordinary standing.

Among the magical texts attributed to Imhotep, copied and recopied across the centuries until they survived into the Leiden magical papyri, is a recipe he is said to have given to devotees of Osiris, lord of resurrection, who wished to see him in a dream and receive his guidance:

“Take a small four legged table of olive wood and set it in the middle of a clean room, covering it entirely with linen cloth. Beneath the table, place four mudbrick blocks stacked one on top of another, and in front of it set a silver censer. Place dry pieces of olive wood in the censer and light them. Mix a little goose fat with myrrh incense, form it into small balls, and cast them onto the burning olive wood. Recite whatever prayer your heart chooses to address to Osiris. Then keep silent for the rest of the night and speak to no one. Go to your bed and close your eyes, and in your sleep you will see Osiris, who will come to you in the form of a priest dressed in white linen.”

In this way the devotee summons Osiris: lord of hearts and king of the Duat, the realm of the dead, seated upon his throne surrounded by the gods of the underworld, awaiting the sunlight brought to him by Ra during his nightly passage through that hidden world.

[image: Bronze statuette of Imhotep in the seated scribe pose used for him from the Ptolemaic Period onward, papyrus scroll unrolled across his lap. This became his standard portrait for over a thousand years, honoring the vizier who built the Step Pyramid and was later worshipped as patron of scribes.]

Inner Coffin Lid of Iawttayesheret

PLACE CREATED Egypt, Africa

CULTURE Egyptian

PERIOD Late Period, Dynasty 25

DATE 722-655 BCE

MEDIUM Wood, gesso, pigment

CREDIT LINE Charlotte Lichirie Collection of Egyptian Art

DIMENSIONS 66 15/16 x 11 13/16 x 21 1/16 in. (170 x 30 x 53.5 cm)

OBJECT NUMBER 1999.001.008 D

Label Text
This nested set of coffins belonged to a woman named Iawttayesheret. The daughter of Padikhnum and Tadiaset, Iawttayesheret was the Great Follower of the Divine Adoratirce of Amun, and almost certainly resided in Thebes. Both her titles and the high quality of her coffins indicated that Iawttayesheret was a woman of some stature.

Exhibition History
MCCM Permanent Collection Galleries, July 18, 1999 - January 17, 2000
MCCM Permanent Collection Reinstallation, October 6, 2001 - Present

Published References
Peter Lacovara, "The New Galleries of Egyptian and Near Eastern Art at the Michael C. Carlos Museum". Minerva, The International Review of Ancient Art and Archaeology. September/October 2001. p. 9-16.

Peter Lacovara & Betsy Teasley Trope. The Realm of Osiris. Atlanta: Michael C. Carlos Museum (2001): 53-55.

MCCM website, Spring 2008-, http://www.carlos.emory.edu/egyptian-nubian

TERMS coffinspainting (image-making)

PROVENANCE
Ex coll. Niagara Falls Museum, Niagara Falls, Canada. Purchased by MCCM from William Jamieson (1954-2011) [Golden Chariot Productions], Toronto, Canada.

STATUS On view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/19003/inner-coffin-lid-of-iawttayesheret?ctx=eff06a3bb76ef48e4929ad09adf03f94d9d5a566&idx=138

Inner Coffin Lid of Iawttayesheret, Dynasty 25 722-655 BCE late period,Wood guesso pigment, The Michael C. Carlos Museum at Emory University

Tomb of Neferrenpet in Khokha, TT178, Luxor.

Wife of Neferrenpet, a scribe of the Treasury in the Estate of the Temple of Amun-Re, hé was also known as Kenro.

He served during the second half of the reign of Ramesses II.

His tomb (TT 178) is located in the Khokha area, a small hill on the West Bank at Luxor(ancient Thebes

... the western staircase that winds up to the roof of the great Temple of Hathor, built in the late Ptolemaic Period, around the 1st century B.C.

Though they appear to have liquified like wax beneath the sun, and theories have arisen as in to why, it is believed the reason is far more earthly (and rather endearing). It is generally accepted that the stairs appear melted, as they are worn from centuries of barefoot priests ascending with incense and offerings to greet the celestial powers; the rising sun, the silver moon, and the glittering stars.... step by step, until time itself seemed to soften the stone.

And so, with that, the “Melted Stairs” are seen as testament not to destruction, but to devotion

Inner Coffin of Nephthys
Middle Kingdom
ca. 1961–1878 B.C.

On view at The Met Fifth Avenue in Gallery 112

The mummy of Nephthys (11.150.15c) was buried in a coffin set that included an outer rectangular wooden coffin (11.150.15a) and an inner mummy-shaped coffin made out of cartonnage (layers of linen with plaster). The inner coffin features a gilded face and a broad collar. In addition, a small necklace was incorporated into the neck area of this coffin.

Overview ‎
Title: Inner Coffin of Nephthys

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: reigns of Senwosret I to Senwosret II

Date: ca. 1961–1878 B.C.

Geography: From Egypt, Middle Egypt, Meir, Khashaba excavations, 1910–11

Medium: Painted cartonnage, wood, gold leaf, Egyptian blue, calcite, carnelian, beryl, silver wire, faience

Dimensions: L. 179.5 cm (70 11/16 in.)

Credit Line: Rogers Fund, 1911

Object Number: 11.150.15b

Curatorial Department: Egyptian Art

Provenance
Excavated by Ahmed Kamal in excavations sponsored by Sayyid Khashaba at Meir, 1910. Received by Khashaba in the division of finds. Purchased from Khashaba by the Metropolitan Museum, 1911.

References
Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass.: Metropolitan Museum of Art, p. 311.

Fischer, Henry G. 1964. "Two Royal Monuments of the Middle Kingdom Restored." In The Metropolitan Museum of Art Bulletin, new ser., vol. 22, no. 7 (March), p. 245, n. 1.

The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/558155

Inner Coffin of Nephthys, Dynasty 12 Middle Kingdom ca. 1961–1878 B.C., Painted cartonnage, wood, gold leaf, Egyptian blue, calcite, carnelian, beryl, silver wire, faience, The Metropolitan Museum of Art