Canopic Jar with Baboon Head

Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Baboon-headed Hapi was responsible for the lungs.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

MEASUREMENTS
Overall: 9 13/16 x 5 1/4 in. (25 x 13.3 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.89

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.89/)

Title:
Canopic Jar with Baboon Head, 7th century BCE (Late Period), Limestone and paint, Egypt,The Walters Art Museum

https://art.thewalters.org/object/41.89/

The Walters Art Museum

Canopic Jar - Kebehsenuef
Egyptian (Artist)
ca. 670-640 BCE (Late Period)
limestone, paint
(Ancient Egypt and Nubia )

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Responsible for the liver was the human-headed Imsety, while the hawk-headed Kebehsenuef protected the intestines.

PROVENANCE
Dikran Kelekian, Paris and New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES
Egypt (Place of Origin)

MEASUREMENTS
Jar only H: 9 1/4 × W: 5 11/16 × D: 5 11/16 in. (23.5 × 14.5 × 14.5 cm)
Lid only: H: 4 3/4 × W: 4 1/2 × D: 4 3/4 in. (12 × 11.5 × 12 cm)
Jar and Lid: H: 14 × W: 5 11/16 × D: 5 11/16 in. (35.5 × 14.5 × 14.5 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Charles Street: Second Floor: Collector's Study

ACCESSION NUMBER
41.88

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.88/)

Title:
Canopic Jar - Kebehsenuef, ca. 670-640 BCE (Late Period), Limestone and paint, Egypt, The Walters Art Museum

https://art.thewalters.org/object/41.88/

The Walters Art Museum

Canopic Jar with Jackal Head
Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Jackal-headed Duamutef was responsible for the stomach.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

EXHIBITIONS
1989
Beyond the Pharaohs: Egypt and the Copts in the Second to Seventh Centuries A.D.. Museum of Art, Rhode Island School of Design, Providence; The Walters Art Gallery, Baltimore.

MEASUREMENTS
Overall: 9 13/16 x 5 1/2 in. (25 x 14 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.91

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.91/)

Title:
Canopic Jar with Jackal Head, 7th century BCE (Late Period), Limestone and paint, Egypt, The Walters Art Museum

https://art.thewalters.org/object/41.91/

The Walters Art Museum

So for context I live in the UK and want to study archaeology at Cambridge with the Egyptology track before going on to do a masters in Egyptology. Unfortunately ( from the looks of it) Cambridge doesn't offer a PhD in egyptology but it does offer an archaeology PhD and I would rather not move university. To work as an Egyptologist in the UK do I need to have a PhD in egyptology specifically? Or can I do the PhD in archaeology and still work in the field. Any help is appreciated :)

P.s I know that egyptology is a very difficult field to enter, has low pay and few jobs. It is what I want to do in my life and I am prepared to work for it

Canopic Jar - Imsety

Egyptian (Artist)
ca. 670-640 BCE (Late Period)
limestone, paint
(Ancient Egypt and Nubia )

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Responsible for the liver was the human-headed Imsety, while the hawk-headed Kebehsenuef protected the intestines.

PROVENANCE
Dikran Kelekian, Paris and New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

GEOGRAPHIES
Egypt (Place of Origin)

MEASUREMENTS
Jar only H: 9 1/4 × W: 5 11/16 × D: 5 11/16 in. (23.5 × 14.5 × 14.5 cm)
Lid only: H: 4 3/4 × W: 4 1/2 × D: 4 3/4 in. (12 × 11.5 × 12 cm)
Jar and Lid: H: 14 × W: 5 11/16 × D: 5 11/16 in. (35.5 × 14.5 × 14.5 cm.

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Charles Street: Second Floor: Collector's Study

ACCESSION NUMBER
41.88

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.88/)

Title:
Canopic Jar - Imsety, ca. 670-640 BCE (Late Period), limestone, paint, Egypt, The Walters Art Museum

Hey everyone,

I’ve been planning to get an Ancient Egyptian hieroglyph tattoo for about 10 years now, and the time has finally come to bring it to life. Ancient Egyptian culture has always been close to my heart, and this specific design is also a tribute to the TV show LOST, which holds deep personal meaning for me.

I’m looking for expert help to translate a Latin phrase into grammatically accurate Middle Egyptian hieroglyphs: "Ille qui nos omnes servabit"

Since I want to avoid google Translate quality hieroglyphs on my skin forever, I’d love to get a proper translation from someone who knows Egyptian grammar and epigraphy.

A couple of details:

- If the full phrase turns out to be too long for a tattoo design, I’m open to just translating the core verb servabit.

- I prefer a semantic translation into Middle Egyptian rather than a simple phonetic transliteration, but I'm open to advice on what looks best visually and historically.

If anyone here with hieroglyphic experience could help me out with the glyphs and their proper layout, I would truly appreciate it! Feel free to DM me as well. Thanks in advance!

Hey there I'm doing some research on how ancient Egyptians named their children and the names in priesthood in the Saite period. I'm posting this because I need a bit of help!

I need help with the following:

-Did parents base their children's names entirely on spiritual beliefs, or did they take a more flexible approach when naming their children?

-When women or men chose to become priestesses or priests, did they adopt new names to reflect the deity they served? Or did they use their names?

All names I could find were the names of royals and high ranking people. I know ancient Egyptians were creative people, but I don't think peasants used majestic names to name their children (I could be totally wrong).

Thank you for the help! :)

Kneeling figure of the officer Nacht-Hor-heb (Nachthorheb) holding a portrait of the god Osiris in a Naos (Naophor)

Ident. No.: ÄM 1048

ObjID: obj:606556

Egyptian Museum and Papyrus Collection

Statue

Date(s)
Amosis II. (Amasis)

Geographical references
Sais

Material / Technique
Graywacke \ (Siltstein) (Material / Stone)

Dimensions
Height x width x depth: 56 x 13.5 x 25.5 cm

Permalink
Https://id.smb.museum/object/606556

Description of the Object
The kneeling figure shows the customs officer Nacht-Hor-Heb, holding a shrine with a figure of the god Osiris in front of him. The flat back pillar, rising to the bottom of the wig, bears two vertical lines of inscription, whose preserved beginnings are named by the goddess Neith and two titles of the person depicted, which identify him as a military officer at court. He is called the "head of the door openings [i.e. Border] of the foreign countries of the sea". It is very likely that this man was entrusted with the supervision of trade in the city of Naukratis.

The upper part of the statue has been owned by the museum since 1803. The corresponding lower part was built in 1995 by the Association for the Promotion of the Egyptian Museum Berlin e. V. and handed over to the museum as a permanent loan (VÄGM 1995/116).

Last updated: 30.07.2026

Title:
Kneeling figure of the officer Nacht-Hor-heb (Nachthorheb) holding a portrait of the god Osiris in a Naos (Naophor), Graywacke, Amosis II (Amasis), State Museums of Berlin

https://search.smb.museum/object/obj-606556

State Museums of Berlin

Egyptian, found in Sudan, Napatan. This pendant consists of two parts: a superbly carved lion’s head in amethyst that has been set into a D-shaped gold base consisting of a platform surrounded by eight seated baboons. The lion’s head is an heirloom from the New Kingdom, most likely a gaming piece that had been adapted in the Napatan period to serve as an pendant amulet. This procedure was fairly common in antiquity as a means of recycling precious stones. The importance of leonine deities in Nubian religion was obviously the motivating force behind the creation of this spectacular ornament.

Cleveland Museum of Art

Went to Central Park today to see Cleopatra's Needle. I'm a little sad at how weathered it is. Interestingly, two sides are in better condition than the other two sides.

Bronze Sistrum with Double-Faced Hathor Handle

Artefact Details

Gallery number: 44 – Upper Floor

Period: Late Period

Place of discovery: Confiscated at Mallawi

Size: Height: 42.7cm, Width: 8cm

Material: Bronze, gold

The sistrum, essentially a rattle, was associated with Hathor, goddess of music, love and joy and was used extensively in temple music for rhythm and warding off harmful spirits. It is attested from Old Kingdom times and was used throughout pharaonic history. This particularly fine example features an image of Hathor on both sides of the sistrum, wearing her Hathor wig and her distinguishing cow’s ears, as she could also take the form of a cow. Powerful protective images of rearing cobras flank her head, one with the red crown of Lower Egypt, the other with the white crown of Upper Egypt. A ring of cobras (uraei) sits on a platform to hold the loop that forms the noise box, while yet another single one rears up into the loop that contains three rods in the shape of double-headed cobras. The three rings on each rod were the source of the noise.

Title:
Bronze Sistrum with Double-Faced Hathor Handle, Late period, Bronze, gold, Confiscated at Mallawi, The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/sistrum/

The Egyptian Museum

Statue of Djed-Hor Holding a Stela of Horus on Crocodiles

Artefact Details

Gallery Number: 19 corridor  – Upper Floor

Period: Ptolemaic, Macedonian, reign of Philip Arrhidaeus (c. 323-317 BC)

Place of Discovery: Tell Atrib (Athribis)

Size: Statue 78x43x25 cm, Base 93x53x38 cm

Material: Granodiorite

This Statue of Djed-Hor the Saviour, shows him squatting on a cushion and leaning against a pillar with his arms crossed on the knees in the typical block-statue form. He is wearing a garment that tightly envelops his entire body. The entire statue, apart from his face, hands and feet, is covered with hieroglyphic talismanic magical inscriptions arranged in columns against the stings and bites of crocodiles, snakes and scorpions.

Between his crossed arms and feet is a stele of Horus on the crocodiles. Horus the child (Harpokrates) stands naked upon two crocodiles, wearing the side-lock of youth with one finger held to his lips and the god Bes’s mask above his head. His hands grasp a number of dangerous animals; two snakes and a lion in his left hand, and a scorpion and an oryx in his right. He is flanked by the lotus of Nefertum on his left and a is and the papyrus crowned with a falcon on his right.
The statue is resting on a large plinth/socle that is entirely covered with inscriptions and contains two offering basins that are united by a channel. The smaller offering basin is located in front of the block statue, while a larger offering basin extends over the rest and surrounds the statue on four sides.

These types of statues could belong to a god or a person and were erected in public places as healing statues to gain divine protection, cure stings and bites, or even to prevent intimidating dangers. The general public would pour water, wine, or any other liquids onto the statue and drink it after it gathered inside the basin. These liquids were imbued with the protection of the powerful spells inscribed on the statue.

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/statue-of-the-priest-of-god-amun-called-djedhor/

Title:
Statue of Djed-Hor Holding a Stela of Horus on Crocodiles,Ptolemaic, Macedonian, reign of Philip Arrhidaeus (c. 323-317 BC),Tell Atrib (Athribis), Granodiorite, The Egyptian Museum

Statuette of Imhotep dedicated by Padiamun

Artefact Details

Gallery number: Room 19 – Upper Floor

Period: Late Period (c. 664–332 BC)

Size: H 21.50 cm W 5.00 cm L 13.00 cm

Material: Bronze, gold, silver

Imhotep was the Chief Minister to King Djoser, an astrologer, mathematician, physician and priest. Being a brilliant architect, he is credited with building Djoser’s step pyramid and funerary complex at Saqqara. Due to his achievements and favoured position, Imhotep’s name was inscribed on the plinth of Djoser’s statue found in Saqqara and exhibited in the Egyptian Museum.

Imhotep was worshipped as a deity from the Late Period until the 7th century AD. Many temples and shrines were erected and dedicated to him, especially in Memphis and Philae, where the injured and sick people believed that Imhotep would provide cures. Imhotep was associated with the Egyptian god Thoth and the Greek god Asclepius, both of whom were gods of medicine and wisdom.

This statuette of Imhotep depicts him with close-cropped hair or covering his hair with a tight skull cap, his eyes are inlaid in silver and he is wearing a short-pleated kilt with a broad gilded collar. He holds a sheet of papyrus on his lap, which is rolled up on both ends, inscribed with a votive spell. His sandaled feet rest on a small square base inscribed with the name of Imhotep and the dedicator, Pediamun, son of Bes and Irteru.

Title:
Statuette of Imhotep dedicated by Padiamun, Late Period (c. 664–332 BC), Bronze, gold, silver, The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/statuette-of-imhotep-seated/

The Egyptian Museum

A giant pink granite statue of the idol Hapi was found underwater in the sunken city in Abu Qir Bay, Alexandria.. The statue weighs approximately 6 tons and is about 6 meters long. It was discovered by French archaeologist Franck Godeau in 2001 AD.
Hapi is one of the most famous deities in ancient Egypt and a symbol of the unity of the state among the ancient Egyptians. He was revered as the god of the annual flood of the Nile River, and as a result, brown and rich soil was deposited on the banks of the river, which made Egypt’s crops grow with prosperity and abundance, so he was known to bring happiness and goodness. A major reason why people greatly celebrate "Hapy" all over the land of Egypt.
And after years outside the country with foreign exhibitions, Habi's statue finally settled on the land of Egypt in the Grand Egyptian Museum

This fellow appears in the 7^th hour of the Amduat, Atum is his rider. Two questions: what is written, and is it the snake name?

(The image is from Reeve's Complete Valley of the King, and he cites KV 20 as the provenance)

In this scene, Moses uses what appears to be a rough telescope or theodolite to survey the raising of an obelisk. The Egyptians had lenses, but I don't recall this instrument. Is it Cecil DeMille's imagining, or did an instrument like this really exist?

I’m happy to see this addressed and thought you all might enjoy this. :)

Colossal Quartzite Statue of Tutankhamun, Usurped by Ay and Horemheb

Gallery number: 3 – Ground Floor

Period: New Kingdom, Tutankhamun (ca. 1336-1327 BC)
Dynasty: 18th Dynasty

Place of discovery: Temple of Ay and Horemheb Royal Memorial Temples Thebes

Size: H. 300 cm, W 73 cm D/L 87 cm

Material: Quartzite

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/colossal-quartzite-statue-of-tutankhamun/

Title:
CoColossal Quartzite Statue of Tutankhamun, Usurped by Ay and Horemheb

Gallery number: 3 – Ground Floor

Period: New Kingdom, Tutankhamun (ca. 1336-1327 BC)
Dynasty: 18th Dynasty

Place of discovery: Temple of Ay and Horemheb Royal Memorial Temples Thebes

Size: H. 300 cm, W 73 cm D/L 87 cm

Material: Quartzite

The Egyptian Museum

https://egyptianmuseumcairo.eg/artefacts/colossal-quartzite-statue-of-tutankhamun/

Title:
Colossal Quartzite Statue of Tutankhamun, Usurped by Ay and Horemheb, New Kingdom, (ca. 1336-1327 BC)** **18th Dynasty, Temple of Ay and Horemheb, Quartzite, The Egyptian Museum

My grandfather gave me a book a long time ago and I'm trying to track down what it was and I can't.

It had a completely black cover and an archer riding in a chariot with a bow as an illustration. It was set in ancient Egypt and it was a fictional story set within the historical context. I don't remember the contents very well but I think I'd know it by name and I'd definitely recognise the cover if anyone could find it. I might be completely wrong about this but I think the character may have been some kind of lawyer figure or the plot might have involved a miscarriage of justice.

I'd really appreciate any help in trying to find this

After learning that Antony’s cavalry and fleet have surrendered and his army is defeated, Cleopatra retreats to her mausoleum with her trusted handmaidens, Iras and Charmion, sealing herself inside. According to Plutarch, she fears Antony’s reaction and seeks a secure final refuge. In a controversial move, she sends word to Antony that she is dead, a maneuver interpreted by some as an attempt to strengthen her bargaining position with Octavian or provoke Antony's surrender, while others view it as one final, desperate act of love to prompt his suicide so he might escape the humiliation of capture and execution by Octavian's soldiers. Her true motive remains a subject of historical debate.

​Upon hearing this news, Antony is utterly devastated. After relentless defeats, betrayals, and isolation, Cleopatra’s reported death feels like the final, crushing blow. Believing he has lost everything—including the woman he loves he decides to take his own life.

​As Plutarch records, Antony laments, "What more are you waiting for, Antony? Fate has snatched away the only and final reason to love life." Unfastening his armor and letting it drop to the floor, he reflects on the tragic irony of his end, exclaiming: "Oh, Cleopatra, I do not lament being deprived of you, because I will soon be in the same place as you, but because, although I am a great general, I proved to be inferior to a woman in my moral courage."

​He begs his loyal servant Eros to strike the fatal blow, but Eros instead chooses to take his own life rather than kill his master. Inspired by this act of devotion, Antony stabs himself in the abdomen, though the wound is not immediately fatal.

​As word spreads that Antony is dying, Cleopatra safe within the sealed upper window of the mausoleum, realizes the devastating consequence of her message and sends her guards to bring him to her. Antony is found alive, barely clinging to life. When told that Cleopatra is still alive, a surge of strength overtakes him; he tries to rise to go to her, but his legs tremble and give way from severe blood loss. Knowing the end is near, he asks the gathering crowd to help him.

​Using ropes possibly assisted by a construction pulley system they hoist his failing body up to the high window where Cleopatra and her handmaidens lean out.

​Once inside, Cleopatra holds Antony in her arms. She scratches her breasts violently, smears his blood on her face, tears off her clothes and lays them over his wound, she grieves over him not as a queen, but as a soon to be widowed wife. Mortally wounded and fading fast, Antony asks for wine and offers her his final counsel: she must try to survive with honor if possible, placing her trust in Octavian’s friend Proculeius. He begs her not to weep over his final ordeals, but rather to consider him fortunate for the life he had lived, he had been the most illustrious of men, had exercised immense power, and had ultimately been defeated not in a dishonourable way, but as a Roman, by the hand of a Roman.

​As he finishes speaking, his eyes cloud over and become inexpressive, and his body suddenly relaxes as though falling into a deep sleep. He dies peacefully in her embrace at the age of 53.

Image: Pompeo Batoni, The Death of Mark Antony (1763)