Ancient Egyptian Mummies



Content Warning: Images of unwrapped mummy. 



The discovery and analysis of mummies from ancient Egypt, has fueled a long-standing fascination with ancient Egyptian culture. Mummies enable the modern audience to connect with the physical forms of people who lived thousands of years ago. During the late 19th and early 20th centuries, mummies inspired morbid curiosity among the upper classes and wealthy patrons would host ‘unwrapping’ parties where the remarkably preserved bodies would be have their bandages removed, bringing people face to face with ancient Egyptians. Modern analysis of mummies is far more controlled and scientific, involving scanning, x-rays, DNA analysis and blood tests. For example, the mummy displayed here at the Garstang Museum is known to be blood group A from the tests performed on it in preparation for their later use in testing the mummy of Tutankhamun. The stunning preservation of mummies enables archaeologists to reconstruct ancient lifeways in beautiful technicolour, but the process of mummification is perhaps one of the most intriguing practices in ancient Egypt.


The Garstang Mummy (2015/13)

How to make a mummy?

The extensive, 70 day embalming and burial process was an important part of Egyptian belief, and was crucial for a successful journey into the afterlife. The mummification process consisted of two main components: the embalming of the remains, and the wrapping and burial of the body.


Canopic jar heads in the shape of the hawk-headed deity Qebehsenuef and the baboon-headed deity Hapi (E.7840 E.7841).

During the embalming process, the body was washed with water from the Nile for purification. The internal organs were then removed and stored in canopic jars. Canopic jars come in sets of four, each identifiable with a specific god; Imsety, a human-headed jar to store the liver; Qebehsenuef, a falcon-headed jar to store the intestines; Hapy, a baboon-headed jar to store the lungs; and Duamutef, a jackal-headed jar to store the stomach.

Next the heart (ib) was put back into the body, and the body was stuffed and covered with natron (salt) to dry it out, before being covered for 40 days. The body was then unwrapped for the final time to be coated in embalming oils before being stuffed with dry materials to give the corpse the appearance of life.

The wrapping of the corpse began with the head and neck, then the individual fingers and toes, and finally limbs. Ritual spells would be spoken over the mummy by priests during the wrapping to protect against evil spirits in the journey into the afterlife. The limbs were then bound into the body with cloth that was wrapped around the entire corpse, and liquid resins were used to glue the bandages tightly. The body was then placed into a series of coffins for its final journey.


Canopic jars featuring the human-headed deity Imsety and the hawk-headed deity Qebehsenuef (E.5267 & E.5266).

How do we know about the mummification process?

Greek historical texts are a useful (if often confusing) source of information for mummification; writers including Diodorus of Sicily and Herodotus discuss mummification practices in ancient Egypt. Herodotus left little to the imagination in his description of the processes:

“…making a cut near the flank with a sharp knife of Ethiopian stone, and then take out all the intestines, and clean the belly, rinsing it with palm wine and bruised spices.”

Perhaps even more interesting in Herodotus’ writing is the discussion of burial practices when there is little physical body to preserve:

“…anyone, Egyptian or foreigner, known to have been carried off by a crocodile or drowned by the river itself, must by all means be embalmed and wrapped as attractively as possible and buried in a sacred coffin by the people of the place where he is cast ashore…”

Mummy Mysteries

At the Garstang Museum, a mummy placed in a child’s coffin was always believed to be the remains of a child. However, X-Ray analysis revealed that the mummified remains were those of two cats, wrapped to look like a child.

There are two obvious possibilities here; the most likely theory is that there was a mistake by the embalmers leading to the original body being lost and replaced, but it is possible that the child was carried away by some creature from the Nile. The embalmers may have crafted the best impression of a child mummy they could to allow the ka (soul) of the child to carry on into the afterlife with some form of a physical body buried in their place, as alluded to in Herodotus.

 E.537 (2)

E.537 (3)

Child’s coffin containing the mummified remains of two cats (E.537).

Preserving Identity

The processes and rituals behind mummification have long fascinated societies around the world, from ancient Greek travellers and historians to modern archaeological scientists. Mummies provide a remarkable opportunity to understand ancient Egyptian people, their lives and their identities. Arguably, the most striking feature of mummies is how easily identifiable they are as humans, allowing a modern audience to look directly into the face of the past.

Greta Brown.


All You Need Is Love: Modern Themes in Ancient Egyptian Love Poems

It is easy to get distracted by the largest and most obvious material from ancient Egypt – vast tombs, colossal statues and beautiful jewellery. This can lead to a disconnect in our understanding of what ancient Egyptian life was really like – how ‘normal’ people felt, behaved, and acted. One of the ways that scholars try to connect with ancient Egypt at a personal, individual level is through the translation and understanding of literature written by ancient Egyptians themselves; and on Valentine’s Day, what better way is there to do that than to read some ancient Egyptian love poetry?

What Is Love?

Surviving evidence of Egyptian love poems and songs comes from the Ramesside workman’s village of Deir el-Medina (a community of craftsmen who worked on the tombs in the Valley of the Kings). Because of the dry desert conditions, fragile material such as papyrus survives to a greater extent here than it does elsewhere. Exceptional literary finds have been discovered at Deir el-Medina, including the famous cache of the scribe Kenherkhopeshef; dream books, medico-magical papyri and literary tales. Some of the rarest of these finds are poetry and songs meditating on love, romance and desire.


The site of Deir el-Medina; its unusual location has led to a very good rate of preservation(photograph by Kingtut, distributed under a CC A-SA 3.0 license).


Vision of Love

One of the most curious and enjoyable aspects of Egyptian love poetry is how similar the sentiments and expressions are to modern love songs; the language of love transcends time and place. Often, the songs list the beautiful qualities of their subjects, going into (sometimes slightly excruciating!) detail about just how wonderful their lover is. Often, the poetry will discuss emotions and situations that the modern reader might be quite familiar with; for example, the idea of the ‘girl next door’ – or in this case, the ‘girl across the Nile’!

“I love a girl, but she lives over there,

On the far side of the river,

A whole Nile in flood rages between,

With a crocodile hunched on the sand.”

– Cairo Ostracon 25218

Often, metaphors and similes are used which are familiar to us as modern readers – ideas such as feeling ‘drunk’ on love, becoming ‘ill’ with desire, and in this particular case, having one’s breath stolen away by the one they love.

“Whenever I leave you, I go out of breath,

(Death must be lonely like I am);

I dream lying dreams of your love lost,

And my heart stands still inside me.”

– Papyrus Harris 500

Other metaphors that are often used in Egyptian love poetry relate to animals, geography and the natural world. The geography of the Nile Valley, and its flora and fauna, was an important source of inspiration in Egyptian art from theriomorphic vessels in the Predynastic period, to Middle Kingdom tomb paintings, to decoration on the floors of the New Kingdom city of Amarna. This fascination with the natural world is also evident in Egyptian love poetry.


Motifs found on the decoration of Predynastic ceramic vessels such as this one illustrate the Egyptians’ fascination with the geography, flora and fauna of the Nile Valley even from the very earliest periods of history (E. 3030).

“Oh, hurry to look at your love!

Be like horses charging in battle,

Like a gardener up with the sun,

Burning to watch his prize bud open.”

– Papyrus Harris 500

Some of the themes that are reflected in Egyptian love poetry might seem more distant from the modern perspective; in particular, there are a number of poems which refer to religious themes and divine aspects. However, a reflection of religious ideas in love poetry was a common motif throughout ancient and modern history, and given the inextricable connection between religion and literature in ancient Egypt, it is not unexpected to find religious ideas reflected in love poems.

“I found my love by the secret canal,

Feet dangling down in the water,

He had made a hushed cell in the thicket, for worship,

To dedicate this day,

To holy elevation of the flesh.”

– Papyrus Chester Beatty I


The prevalence of religion in daily life in ancient Egypt makes religious themes and motifs an obvious inclusion in love poetry. This sculpture depicts the cow-goddess Hathor, who was associated with love and fertility (E. 66).


Of course, that is not to say that all Egyptian love poetry was focused on beautiful metaphors, charming compliments and delicate longing. In fact, some of the poetry might be seen as a little raunchy by modern standards – here is one of the tamer examples!

“When we kiss, and her warm lips half open,

I fly cloud-high without beer!

What paradise gained, what fulfilment, what a heavenly turn of affairs!

Oh, raise one to Menkat, Our Lady of Liquor,

But keep your mouth tight on the girl!”

– Cairo Ostracon 25218

The Power of Love

One of the most endearing aspects of Egyptian love poetry is undoubtedly how relatable the thoughts and feelings expressed within it are to the modern audience. Poems that describe the delicate flutter of the heart when a paramour is near; the delight of a chance meeting with someone you have a crush on; and the joy of spending a day with someone you truly love. It can be said that love forever changes, but the language of love translates remarkably well across great distances and vast gulfs in time. Happy Valentine’s Day!

Christopher Bebbington.

Translations taken from:

Foster, J.L. (1992) Love Songs of the New Kingdom. Austin: University of Texas Press.

Personal Piety: Religion and the People

The ancient Egyptians did not have a word for religion; their religion was so deeply ingrained into everyday society that it was more an intrinsic way of life than a formalised set of beliefs. However, decorum during the Old and Middle Kingdoms of ancient Egypt dictated that only royalty could be depicted interacting with the gods. Therefore, our evidence for ancient Egyptian religion and worship is drawn almost entirely from royal tombs and the burials of elite individuals. This gives us a very narrow view of the everyday Egyptian’s experiences with the divine.

One of the few known examples of a god involved in the personal sphere is Bes, the protective dwarf god. His short, squat stature, leonine features and gurning face were believed to have scared away evil spirits. Unusually Bes was always depicted from the front, rather than the traditional profile seen in Egyptian art. Representations of the god are found on so-called ‘Bes Jars’; these were often found in the home and are thought to have protected women and children. Images of Bes (along with numerous other protective demons) are also found on ivory ‘wands’.


‘Bes Jars’ represent the grotesque features of the household god, Bes. (E. 6807)


Ivory ‘wands’ often included images of protective demons with surreal forms. (E. 7007)

It was during the Ramesside Period that changes in belief meant that the gods could be shown interacting with anyone. Increased evidence of ‘personal’ piety during this period gives us a greater understanding of the way the gods were conceptualised in the ‘everyday’. The gods were now represented in almost every aspect of Egyptian life. For example, Egyptian magical medicine rituals used statues of the young god Horus, known as cippi statues, in healing and protective rituals.

In non-royal tombs, it became more acceptable for the tomb owner to show personal interaction with the gods. This personal connection is visible through divine patronage, which could be used by Egyptians to justify their decisions in life and further their status in death. In his tomb, Zimut-Kiki claimed to have left his entire fortune to Mut, emphasising his personal connection with the goddess. Funerary stelae from this time also show the gods having a direct impact on their non-royal worshippers; the stela of Amennakht claims that Amennakht was struck blind by the goddess Meretseger as testament to her power.

thumbnail_E.89 (1)

This Graeco-Roman stele depicts the deceased being led to the afterlife with the support of the gods. (E. 89)

During the Ramesside period Egyptians seemed to have more direct access to their gods. Statues of deities were still sequestered away in their temples, and only the very highest order of priests, and the king, were allowed contact with them. However, at the Temple of Amun at Karnak, the addition of a ‘Temple of the Hearing Ear’ suggests that Egyptian people could pray directly to the gods, and possibly receive answers to their questions. Similarly, numerous stelae exist that depict the gods alongside iconography of ears, implying that the gods took a personal interest in hearing the prayers of their followers.

It is hard to understand such a complex religion, which has been extinct for thousands of years, but by looking at the material culture of everyday religion in ancient Egypt we can achieve a broader comprehension of the way that non-royal Egyptians made sense of their world. This enables us to move beyond the historic fixation on the elite of Egyptian society and better understand the lived experience of ancient Egyptian people.

Louise O’Brien, Chris Bebbington


Ancient Egyptian Festivals

Throughout Egyptian history, numerous festivals were celebrated during each year. The Egyptian calendar was divided into 12 months of exactly 30 days, with the year split into three seasons – Akhet, the season of inundation; Peret, the season of growing; and Shemu, the season of harvesting. An additional five days were added to the calendar that were not part of any specific month, each day celebrating a different deity.

Festivals played an integral part in worship in ancient Egypt, and often religious festivals would involve the “procession” of a god, by land or boat, across a specific route. Perhaps the most famous processional route is found at Karnak; the temple of Amun at Luxor depicts scenes of celebration as the boats of Amun, Mut and Khonsu travel from the main temple at Karnak to Luxor during the Opet Festival.

Some Prominent Festivals in Ancient Egypt

The Gods’ Birthday Parties: The Five Special Days

The five days added to the Egyptian calendar to bring it up to 365 days each involved the celebration of the birth of a specific god. The first was the birth of Osiris, the Lord of the Duat (the Egyptian underworld). The second day was the birth of Horus, a very prominent falcon-headed deity associated with kingship. The third day celebrated Seth, a god associated with chaos and the wild deserts of Egypt. The fourth and fifth days celebrated the goddesses Isis and Nepthys, two sisters who were associated with protective funerary rites and who brought the god Osiris back from the dead.


Osiris, Isis and Horus were three of the gods honoured on the five special days. (E.9324)

Egyptian New Year’s Day(?): The Coming Forth of Sothis (Akhet Month 1 Day 1 – allegedly!)

The Egyptian New Year was supposed to be celebrated when the star Sothis (modern Sirius) seemed to disappear from the sky and then reappear on the Eastern horizon at sunrise; this is known as the Heliacal Rising of Sothis. Although due to the nature of the Egyptian calendar, the Rising of Sothis did not coincide with the New Year (1st Month of Akhet, Day 1) as it was supposed to, the ancient Egyptians still celebrated the Peret Sopdet, the “Coming Forth of Sothis” festival, at the start of each New Year.

A 15 Day Celebration: Festival of Opet (Akhet Month 2)

During the Beautiful Festival of Opet, which stretched across 11 to 15 days, the Theban Triad (Amun, Mut and Khonsu) would travel from the Karnak Temple to the temple of Luxor. There, Amun-Re of Karnak would meet with Amun of Luxor in union. Through being united, they would ensure the re-creation of the cosmos each year. This potent union would be extended to the King of Egypt, who is depicted as part of the procession and who would also participate in the regeneration of divine power. As well as being an important part of Egyptian religious cosmology, the Opet Festival was the longest celebration in the Theban festival calendar.

The Massive Party: The Festival of the Valley (Shemu Month 2)

The Theban Festival of the Valley was celebrated on the New Moon of the second month of summer. This festival celebrated the bonds between the living and the dead, and was associated with the living strengthening their bonds with the dead. During this festival, citizens would adorn themselves with collars made of fresh flowers (called wah). Feasts were held, offerings were given to the ka of the deceased, and celebrations involved drinking alcohol, singing and dancing.


Offerings for the deceased were placed on offering tables such as this one. (E.44)

A Jubilee Festival: The Sed Festival

The Sed Festival was a special festival in Egypt celebrated by the king during the year of their 30th jubilee (although many kings enjoyed multiple Sed festivals, and the 30-year rule was not always observed!). This festival included religious rites, offerings, processions and the ‘raising of the Djed pillar’, which symbolised stability, strength and potency. On inscriptions, the King is often depicted running during the festival, symbolically proving their fitness to rule.


Some depictions of the Sed festival show the king racing alongside the Apis bull. (E.824)

  Christopher Bebbington.

Ancient Egypt in Focus: The photographic Archives of John Garstang

John Garstang was one the early pioneers in the use of photography as a method of recording archaeological excavations, artefacts and surveys. The museum’s photographic archive contains almost twenty collections of glass-plate negatives relating to Garstang’s archaeological research in Egypt, Sudan and the Near East. These photographs give an insight not only into how excavations were carried out during the early part of the twentieth century but also record now lost artefacts and sites, as well as showing us a little of what life was like for Garstang and his teams.

The Pilgrim Trust funded ‘Ancient Egypt in Focus’ project aims to catalogue and digitise a portion of the photographic collections held by the Garstang Museum, specifically, those relating to John Garstang’s excavations in Egypt and Sudan at the sites of Meroë, Abydos, and Beni Hasan. This process will ensure the preservation of these images, they will also be published online on the Archives Hub so that others may also view these images.

Image of the excavated portico discovered during excavations of Sakçagözü, Turkey, 1908, Reference: SG-044

Image of the excavated portico discovered during excavations of Sakçagözü, Turkey, 1908, Reference: SG-044

In 2011, the Hertitage Lottery Funded ‘The Lost Gallery: John Garstang and the discovery of the Hittite World’ project processed the Museum’s photographic collections relating to Garstang’s work in the Near East, including the excavation of Sakçagözü, Turkey. The negatives were digitized using a digital camera suspended above an adjustable platform from which the negatives could be illuminated by a light box below.  The equipment was fully adjustable to cater for different size and formats of negatives. In six months the project processed nearly 900 images. For the digitisation of the Egyptian and Sudanese negatives, the project will last for fifteen months, allowing for an even greater number of negatives to be processed, indeed, the new project hopes to process over 2000 images!

Interns using the digitization equipment during the Hittite project

Interns using the digitization equipment during the Hittite project

It is early days in the project but we will be making frequent updates about our progress here on the blog and on our facebook page

For more information about the project please contact the project archivist, Katie Waring (


Archives Hub

‘The Lost Gallery: John Garstang and the discovery of the Hittite World’ project

The Texts of the Coffin of Userhat (E.512)

One of our most prized and most viewed objects is the box-coffin of Userhat (E.512). The coffin was excavated by John Garstang in 1902 and was one of the first objects on display in the museum of the Institute of Archaeology in 1904. The text inscribed upon the coffin tells us that Userhat was a soldier He lived during a period Egyptologists call the Middle Kingdom (c. 1991-1783BC).

The Inner coffin of Userhat (E.88.1903) kept at the Fitzwilliam in Cambridge

The Inner coffin of Userhat (E.88.1903) kept at the Fitzwilliam in Cambridge

When Userhat died, he was mummified and interred in an anthropoid (human-shaped) coffin, which was then placed inside the box coffin. Userhat’s inner coffin was donated to the Fitzwilliam Museum in Cambridge by the Beni Hasan Excavation Committee in 1903, where it is kept today (E.88.1903).

As Garstang was a pioneer in the use of photography within archaeology we are also able to see the coffin as it was first discovered, with the inner coffin laying on its side, with the face of the coffin looking out of the painted eyes upon the outside of the box coffin . The rest of the tomb merely contained a few pieces of pottery.

The coffins of Userhat in situ

The coffins of Userhat in situ

The texts which adorn the coffin are dedicated to a number of funerary deities, such as Osiris, Anubis, Isis and Nepthys. Most of these texts are highly standardised, with only a few alterations made in each register. The texts translated here are the first inscriptions that would have been seen by Garstang, they are from the head end of the coffin and refer to “the revered one” (i.e. deceased) Userhat in reference to specific deities.


Userhat Text

Top: Revered one before Nepthys, the Soldier Userhat

The image in the centre of this panel is of the goddess Nepthys, whilst the goddess Isis strikes a similar pose at the foot end of the coffin.

Left column: Revered one before the Great Ennead, the Soldier Userhat

Right Column: Revered one before the Lesser Ennead, the Soldier User(hat)       

An Ennead (pesdjet in Egyptian) is a grouping of nine-god. Some of these groups are more important than others, hence the “Great” and the “Lesser” Enneads.

It seems that the painter of this coffin had not planned the size of the text out fully before applying the paint as despite requiring the same amount of space and signs, they ran out of space  for Userhat’s  name, cutting off the lower parts of these signs.

Detail from the Coffin of Userhat as it stands on display in our galleries

Detail from the Coffin of Userhat as it stands on display in our galleries

Come and see the Coffin of Userhat in our Egyptian Afterlife Gallery, we are open to the public every Wednesday from 10 ’til 4 and are completely FREE!


Object Biography: Meet ‘Felix’ one of our mummified cats

E.5425 a.k.a. 'Felix'

E.5425 a.k.a. ‘Felix’

This is ‘Felix’ one of our mummified cats, or more officially E.5425. Felix often goes with us on outreach activities though he is fairly quiet and doesn’t really eat much even when on the road! Really we should probably call him a more Egyptian name such as ‘Ta-miu’ (literally ‘the girl cat’, think meow), which is the name of the pet cat of a Prince Thutmose, but Felix rather stuck.

However, Felix was not buried in such a lofty location as the Valley of the Kings, in fact we are unsure of where he was originally buried. Instead, we know where he spent a portion of the 20th century- in an attic. On Thursday 12th November 1992, workmen were clearing the loft areas of one of the university buildings not too far from where the museum stands today; as they cleared the space they found some ancient pottery, basketry, mummified pieces and Felix. The building they were clearing, 11 Abercromby Square, had been part of the Institute of Archaeology before the 1940s and it appears that these objects were placed under the eaves for safe keeping and forgotten about for fifty years! An unusual find, but only last year another mummified cat was found lurking in an attic: (although the daily mail suggests that it was a mummified pet- keep reading and we will let you decide whether this is correct).

Scarcophagus of ‘Tamiu’, the pet cat of Prince Thutmose ©Madam Rafaèle

Scarcophagus of ‘Tamiu’, the pet cat of Prince Thutmose ©Madam Rafaèle

Why mummify a cat?

There are two reasons to mummify a cat, the first of these is to provide a pet with a caring burial (like Tamiu), and the second, more common reason is for ritual purposes. A number of animals including cats were mummified to serve as ritual offerings to the gods. Felix is probably one of these offerings. Cats were often offered to the cat-headed goddess Bastet as votives, with the practice of mummifying animals peaking in the 1st Millenium BC.  Huge numbers of animals were often stored on mass in underground galleries. As this was done on such a large scale, most of the mummified cats which were offered as votives were kittens, this was so that the temple could continue to produce these votives without spending unnecessary time raising an adult cat.


Wholesale cat mummies for fur-tiliser

Cartoon from "Punch" (15th February 1890)  showing a grizzly result of using the mummified cat fertiliser

Cartoon from “Punch” (15th February 1890) showing a grizzly result of using the mummified cat fertiliser

Liverpool also has an unusual link with mummified cats, on 10th February 1890, 19.5 tons of mummified cats (approx. 18,000). Found by accident in 1889 in Speos Artemidos, this large shipment was auctioned off in Liverpool and caused quite a stir in the media. The reports of the sale vary but they seem to agree that the cats were sold off wholesale when they had disintegrated (for use as fertiliser), with the more well preserved cats being sold whole or just as heads/bodies. There are even reports of the auctioneer using the skull of one such cat as a gavel!

For more on this, see:



Object in Focus: A Meroitic Lion Statuette- E.8003



The object in focus this week is a small limestone statuette of a Lion from the ancient capital of Sudan, the city of Meroë (around 200km northeast of modern Khartoum). He is 14.8cm tall and was discovered by Prof. John Garstang during the 1912 season of excavations. Garstang excavated extensively at Meroë on behalf of the Institute of Archaeology between 1909 and 1914. His excavations revealed a complex layout of houses, temples and palaces built of stone and mud brick, with the remains of earlier periods being buried by later constructions as the city continued to be occupied for nearly a 1000 years. Meroë had a big impact on Garstang’s life, shown by the fact that he named his daughter after the city, which he had spent so long excavating.

The Kushite Empire was long lived and dates from between 890 BC and AD320. Whilst it was centred in the cities of Meroë and Napata, the rulers of Kush also held Egypt for around a century during the period known by Egyptologists as the Late Period. During this time a number of Kushite kings, such as Piye (Piankhy), Shabaqa and Taharqa also ruled over the Nile Valley as the 25th Dynasty of Egyptian kings. Despite losing their territory within the Egypt during the Assyrian conquest of the country, the Kingdom of Kush remained a major power in East Africa well into the early fourth century AD.

The art and culture of these kings was a fusion of the classically Egyptian and that of their native Sudan, both of these traditions living side by side. The golden age of the Kushite rulers within Egypt is often focused on the reign of Taharqa, who rebuilt temples within the Nile valley and attempted to extend the borders of his kingdom north of the Sinai. However, it was not to be, and the Assyrian King Ashurbanipal eventually expelled these rulers from the Egyptian Nile valley. Taharqa also produced one of the best known objects from this time, a sphinx in the British Museum which clearly shows the fusing of Egyptian and Kushite artistic traditions.


BM EA 1770 -The Sphinx of Taharqa (Trustees of the British Museum)

Whilst the mythical sphinx is not unusual within Ancient Egypt, after all there is an exceptionally large example hewn into the Giza plateau itself, the lion also held a special significance within the Meroitic culture for a number of reasons. In fact, lions are a recurrent element found in the artefacts of this culture. As such, this statuette is only one of many leonine artefacts within our collection.

One of the primary functions of the lion was as a marker of royal authority, often shown devouring captives, or in this case seated regally.  The lion headed god Apedemak was worshipped as “the Lord of Royal power” in his temple at Naqa (south of Meroë). One famous relief in this temple shows a three-headed, four-armed Apedemak being adored by Queen Amanitore and King Natakamani.


In addition to this, lions were also hunted, along with rhinoceroses. This dangerous game hunting was a sign of the power of the individual. The burial of animals with the Kings of Kush is well attested- with the first King buried at the site of el-Kurru, King Kashta, with a number of chariot horses. In this tradition, there is also evidence for the burial of three young lions at Sanam- though why this was done is unclear.This statuette will be displayed in our new galleries in 2014 with a range of Ancient Sudanese material from Gartang’s excavations. He will be joined by a whole pride of lions both small and large!


An Unknown Official and an Unseen Statuette (E.7804)



During the course of the work we are currently doing on the redevelopment of the Garstang Museum of Archaeology, a number of interesting artefacts have been found languishing in the museum stores. Many of these objects have been in storage for decades, and some may never have been seen by the public.

This elegant, yet sadly damaged, statue is one such object. It is carved from a relatively soft stone known as steatite, or soap-stone, and is a beautiful matte-green in colour. Even though the head and the bottom of the figure’s legs have broken away and been lost, it is nonetheless possible to tell that the figure was male and in the ‘active pose’ – with his left leg extended as if in mid-step.

This pose was highly popular throughout Pharaonic history, for kings and commoners alike. The stance, along with the youthful physique of the statue (with highly defined muscles) was intended to convey the “go-getting”-attitude and vitality of the deceased individual.



The dating of the object is not too difficult, even though it does not have any archaeological context. The pointed wig and posture is highly reminiscent of late Middle Kingdom private sculpture. Examples of this style are found in museums all over the world, such as this basalt statue currently residing in the Petrie Museum of Archaeology (UC8711).

Attached to the back of the figure is a pillar containing a hieroglyphic inscription of the offering formula. The purpose of this formula was to ensure a perpetual supply of foodstuffs and goods in the afterlife, and is a very common feature of ancient Egyptian funerary material. A similar back-pillar and inscription is also found on the now-famous “spinning” Middle Kingdom statue of Neb-Senu from the Manchester Museum. Despite keeping a close eye on E.7804, we have not yet witnessed any spinning – perhaps due to the loss of his legs!

E.7804 Inscription

E.7804 Inscription

The inscription on E.7804 is dedicated to “Osiris, Lord of Ankh-Tawy” which is quite an unusual combination of god and epithet. Ankh-Tawy was the necropolis district of the ancient Egyptian capital of Memphis and is almost always associated with the god Ptah. However, on occasion Osiris, as the Ruler of the Dead, was associated with this vast cemetery during the late Middle Kingdom, which adds further support to our suggested date for the figure.

Unfortunately the inscription breaks off just before the point where one would normally expect the name of the statue’s owner to appear. Egyptian statues were highly stylised, rather than being accurate portraits of the individual they commemorated. For this reason the inclusion of the individual’s name on an object of this type was of critical importance as it allowed the owner’s ka (spirit) to identify, and subsequently inhabit, the statue.

E.7804 will be going on display with a number of other funerary statuettes in the new gallery of ancient Egyptian funerary beliefs, opening in 2014.