f LIBRARY

3 9002 05366

THE METROPOLITAN MUSEUM
OF ART

THE MURCH COLLECTION
OF
EGYPTIAN ANTIQUITIES BY
ARTHUR C. MACE
ASSISTANT CURATOR
DEPARTMENT OF EGYPTIAN ART

NEW YORK
M C M X V I

THIS COLLECTION OF
EGYPTIAN ANTIQUITIES
WAS PRESENTED TO
THE METROPOLITAN MUSEUM
OF ART
BY
MISS HELEN MILLER GOULD
MCMX

viU'

/-•*;

FIGURE I

ILLUSTRATIONS

Vignette on cover Amulet figure
of Taurt in glazed frit.
1. Glazedpottery rings, XXI dyn. 5
2. Box of painted pottery . . 5
3 . Selected group of cylinder seals 9
4. Scarabs with royal and private
names  11
5. Types of scarabs without names 13
6. Animal back seals . . . .13
7. Fancy forms of seals in glazed
steatite ¦ '3
8. The so-called "Lion hunt" and
"Marriage" scarabs . . 15
9. Glazed pottery " Kohl " tube, in
scribed with the names of
Amenhetep IIlandQueenTii. 16
10. Group of royal and other ushab-
tisof theXXldyn. 17

II. Groupof wooden amulets .
12. Lapis lazuli votive figures of the
goddess Maat, and of a hawk
13. Figure of an Apis bull in bronze.
1 4. Selected group of glass vases
15. Slices of mosaic glass from in
lay . .
16. Group of painted pottery of the
predynastic period .
17. Obsidian statuette head
18. Alabaster statuette head
19. X 11. -XXVI dyn. jewelry .
20. Glazed pottery pendants from
the palace of Akhenaten
21. Jewelry, 3rd cent. b.c. — ¦2nd
cent. A.D.
22. Head of the god Bes in glazed
pottery

¦9
19
20

23
?42527 272728

FIGURE 2
5

THE MURCH COLLECTION OF
EGYPTIAN ANTIQUITIES

IN the June number of the Bulletin an
nouncement was made of the gift to
the Museum by Miss Helen Miller
Gould of the Murch Collection of
Egyptian Antiquities. The Collection has
since been completely classified and cata
logued, and we can now, so far as is pos
sible within the necessarily confined limits
of the present article, give a somewhat
detailed account of the objects of which it
is composed.
The Collection was formed by Dr.
Chauncey Murch, who for about twenty-
five years directed the work of the Ameri
can Presbyterian Mission at Luxor, and
who thus had an unique opportunity of
acquiring such material. Having a con
siderable knowledge of Egyptian antiqui
ties and a keen discrimination, particularly
for dated pieces, he was able to make full
use of this opportunity, and in the course
of time accumulated a most valuable col
lection of the smaller classes of material.
A number of his scarabs were purchased
in 1894 by the Art Institute of Chicago,
and single objects were bought from time
to time by the British Museum and other
collectors, but the main part of the Collec
tion has remained intact, and will now,
through the generosity of Miss Gould, en
rich the Egyptian galleries of our Museum.
In dealing with a collection of this size
— there are in all 3,370 pieces — it is of
course impossible to give anything like a
detailed account of the various objects;
indeed a bare list of those worth mentioning
would more than exceed the space which
can be allotted to the present article. We
must confine ourselves as far as possible to
a description of the classes of objects, and
refer those who wish to make a closer ac
quaintance with the individual pieces to
the room of Recent Accessions, where the

whole collection has now been placed on
exhibition for the present month.
The most important part of the collec
tion historically, and that which Dr. Murch
himself evidently took most pleasure in,
consists of scarabs and the various other
allied forms of seals. In the daily life of
the Egyptian the seal played a very im
portant part, and was used for a variety
of objects. It was carried about on the
person doubtless, as it is in the Egypt of
to-day, as a means of identification, and
to be affixed to documents as a sign manual;
but in addition to this, at a time when locks
and keys were non-existent, it provided the
Egyptian with a means of safeguarding his
property, and we find that wine jars and
other vessels, bags, boxes, entrances to
tombs, and even doors of storerooms and
houses were all secured from theft or dis
turbance by means of the seal. In the
administrative machinery of the country
the use of the seal provided occupation for
a great number of officials. The office of
" Keeper of the Seal " was one of the highest
that it was in the King's power to bestow;
while among the lesser officials we find such
titles as " Royal Sealers" (Heads of Depart
ments), "Divine Sealers" (Superintendents
of Temple Storehouses), "Assistants" of
various degrees to the " Keeper of the Seal "
and even "Instructors' in the art of seal
ing. Some of these titles, as we shall see,
are represented in our present collection.
Egyptian seals are divided into two main
classes. In the first the seal is cylindrical
in shape, and the impression is made by
rolling the cylinder over the prepared sur
face: in the second, which includes a va
riety of forms — scarabs, plaques, scarab-
oids, cowroids, animal-backed plaques and
so on — a direct impression is made by
stamping. The first, the cylinder seal, is

THE METROPOLITAN MUSEUM OF ART

the more ancient. It occurs even in pre
dynastic graves, commemorating indeed
what is practically the Egyptian's first at
tempt to communicate his thoughts by
means of written signs, remains in favor
up to the time of the twelfth dynasty, and
then rapidly disappears. The second class
begins in the period immediately preceding
the twelfth dynasty, and has been in use
ever since.
The cylinder seal class is represented in
the Murch Collection by forty-two ex
amples. With two exceptions — one ivory'
and one wood — they are all of stone, plain
black or green steatite in the earlier ex
amples, and glazed steatite, with one case
of lapis lazuli, in the later. Seventeen of
our examples belong to an interesting type
which dates back to the very beginning of
the dynastic period (Fig. 3, 4). They ap
parently contain the names of officials or
private individuals, but up to the present
no one has succeeded in satisfactorily de
ciphering them. The inscriptions on two of
the others, which are slightly later in date,
consist of animals and grotesque human
figures (Fig. 3, 5). The remaining twenty-
three bear royal names, and belong respec
tively to Menkaura (Fig. 3, i) of the IV.
dynasty (about 2900 B. C.), the builder
of the third Gizeh pyramid, Userkaf (Fig.
3, 2) and User-n-ra (Fig. 3, 3) of the V.
dynasty (about 2700 B. C), Pepy of the
VI. dynasty (about 2600 B. C), Usertesen
1., Amenemhat 1 1., Usertesen II., Usertesen
IlL.andAmenemhat 1 1 1, of the XI I. dynas
ty (2000-1788 B. C), and to Sebekhetep
111., Ra-mer-nefer and Her-tep-taui^ of
the XIII. dynasty (about 1700 B. C).
Royal cylinder seals are by no means com
mon, and this is a particularly good selec
tion. No other cylinder seals of User-n-ra
or Ra-mer-nefer are known, while that of
Her-tep-taui is the only object that bears
his name in existence. There is also in the
Collection a clay sealing of Sneferu of the
IV. dynasty, giving the impression of a
cylinder seal similar in type to the above.
Of the second class of seal— scarabs and
' This, with a few of the other seals in the
collection, has been published by Newberry,
Scarabs. London, 1906, Plate III., 14.
'^ Newberry, op. cit., vii., 2.

the other types applied by stamping— the
Murch Collection has upwards of 800 speci
mens of various materials, including glazed
steatite, glazed pottery, gold, carnelian,
amethyst, lapis lazuli, jasper, beryl, lime
stone, ivory, bronze, paste, and glass.
These may be conveniently subdivided
into —
A. Those bearing royal names (242 ex
amples).
B. Those bearing names of officials and
other private individuals (70 ex
amples).
C. Seals without names, but inscribed
with ornamental designs, names of
gods, mottoes, and so on.
A. The royal seals are divided among
the various dynasties as follows: —
Dyn. IV. Sneferu, Khufu (4 exam
ples), Khafra, Menkaura (4).
Dyn. V. Unas (7).
These seals are not contempo
rary with the kings whose
names they bear, but were is
sued in commemoration at a
much later date, most of them
in the XXVL dynasty.
Dyn. XI (2160-2000 B. C). Men-
tuhetep.'
Dyn. XII (2000-1788 B. C). Us
ertesen III. (Fig. 4, I ), Amen
emhat 11.(2) Amenemhat III.
Dyn. XIII (1788- about 1680 B.
C). Sebekhetep I. (2), Nef-
erhetep, Sebekhetep III (8.
Fig. 4, 2).
H\ksos Kings (1680-1580 B. C).
Kha-neferu-ra, Maa-ab-ra,
Aamu (Fig. 4, 3), Shesha
(3), >keb, Kh\an,* Apepa,
Skha-n-ra.
Dyn. X\1I (about 1600 B. C).
Aah-hetep (2).
Dyn. XVI II (1580-1350 B. C).
Aahmes 1. (4), Aahmes Nefer-
tari(6), Amenhetep 1.(6. Fig.4,
4), Thothmes I. (3),Thothmes
1 1.(3), Hatshepsut (9), Thoth
mes 111. (45), Amenhetep II.
(8), Thothmes IV. (4),Amen-
' Newberry, op. cit., p. 87.
' Id. xxii., 21.

O

THE METROPOLITAN MUSEUM OF ART

heteplll.(i6),Tii (5), Akhen
aten (7), Horemhcb (2).
Dyn. XIX (1350-1205 B. C). Ra-
meses L, Seti L, Rameses II.
(17. Fig. 4, 5), Merenptah.
Dyn. XX (1205-1090 B. C). Ra
meses III., Rameses IV.
Dyn. XXI (1090-945 B. C). Men-
kheper-ra (22: some of these
may be in commemoration of
Thothmes 111.), Siamen.
Dyn. XXI 1 (945-745 B. C). She-
shonk 1. (4. Fig. 4, 8),Osorkon
11., Sheshonk IV.
Dyn. XXIV (718-712 B.C.). Ba-
kenrenf.
Dyn. XXV (712-663 B.C.). Sha-
baka (5), Men-kheper-ra (14:
some of these may be in com-
memorationofThothmes 111.)
Taharka (Fig. 4, 9).
Dyn. XXVI (663-525 B. C).
Psamtek I. (2. Fig. 4, 10),
Shapenapt, Nekau, Psamtek
11.(3).
B. Of the class of private name seals
there are in this collection only 70
examples, a very disproportionate
number, one would think, as com
pared with the total of 242 royal
seals. This is not a peculiarity of
the collection, however, for the same
ratio holds good in all collections,
and in all excavations that produce
scarabs. It should also be re
marked that, with but few excep
tions, the name is accompanied bv
a title which indicates that the
owner of the seal was a person of
some consequence. From these two
facts we must surely infer that the
right to use the name as a seal was
confined to a privileged few. who
gained this privilege, cither bv virtue
of their office, or as a direct gift from
the king. However that m;i\' be,
it is at least true that the humbler
individual was not in the habit of
using a named seal. We ma>' ;uld
that if he were debarred from ad\ er-
tising his name he had still the belter
of the bargain; for in the scarab-

makers' shops there were seals with
a variety of decorative designs —
scroll pattern, hieroglyph, or animal
— any one of which was from an
artistic point of view more effective
than a name could ever be, and from
these he could select whichever
pleased his fancy most.
Another point of interest in this
class of seals is to be found in the
fact that such a large proportion —
in our collection more than half —of
the official seal-bearing class belongs
to one small period of the history,
namely that which lies between the
XI 1. and the XIV. dynasties. It is
to be explained by the changes which
time brought about in the adminis
tration of the country, the gradual, if
somewhat irregular, evolution of a
centralized from a decentralized form
of government. Throughout the
whole of Egyptian history, as indeed
has been the case in all Oriental coun
tries, the power of the nobles was
a constant menace to the throne,
and assassination commonly paved
the way to a new dynasty. In the
period immediately preceding the
XII. dynasty and throughout the
middle kingdom a regular feudal
s>'stem prevailed, the government
of the countr\' being farmed out to
high officials, who came to Court but
rarel\', and whose name-seals, in
their own district at any rate, would
ensure almost as much respect as
that of the king. In a period such
as this, the period too in which seyls
first came into common use, it is
natural that the official class of
named seal should be common. By
the Xl\'.d\nast\thc inherent weak
ness of this decentralized system of
administration had brought about
its natural conclusion. Thegovern-
ment had split up into a number of
pett\' kingdoms, the chief of each
asserting his right to the kingship of
the whole, and the country passed for
a time into the hands of a foreign in-
\ader. Then in the XVI II. dynasty
came the expulsion of the foreign-

aDo

' iaiiu ¦

THE METROPOLITAN MUSEUM OF ART

er, and the rise of a new and power
ful line of kings, who, realizing the
danger of a too powerful nobilit)',
made a complete change in the form
of government, absorbed into their
own persons some of the old official
titles and duties, and so restricted
the powers and privileges of the re
maining officials that they became,
from semi-independent vassals, mere
attendants on the king. One other
point of interest in this connection
must be noticed, and that is the
great preponderance, in the latter
part of the history, of the title, in
some form or other, of "priest."
With few exceptions the early seal
titles are lay in character, whereas
from the XVllI. dynasty onwards
it is the exception to find a title
that is not priestly. Here again the
seals reflect the history. The throne
had only escaped the danger of the
nobles to fall into the hands of the
"Church." Gradually all through
the New Empire the power of the
priests grew, till in the XX 1. dynasty
they gathered all the reins of govern
ment into their own hands, and es
tablished a line of priest-kings.
The seals are divided chronologic
ally as follows: —
XII. dyn.
Senb-su-ma (2 examples). "Royal
Sealer, Royal Companion,
Keeper of the Seal." This is
a well-known official, and his
scarabs occur in several other
collections.
Mery-ra. A ring in the collection
also bears this official's name,
and a scarab of his was found by
Petrie at lllahun.
Tahutf-hetep. "'Hati' Prince,
Superintendent of the Priests."
XII.-XIV. dyn.
Rera (Fig. 4, 12). " Superin
tendent of the Storehouse of
Offerings. "
Mu-nu-n-ab. "Mistress of the
House" (chief wife). Of this
lady one other scarab is known.

Shemses (Fig. 4, 11). "Attend^
ant," son of Senb-nena.
Mesut. "Superintendent of the
Interior, and of the North
Land."
 senb. "Priest."
Nehesi. "Chief Scribe of the
Keeper of the Seal." One other
scarab known.
Sen-pu.' "Superintendent of the
Storehouse of Offerings. " An
other of his scarabs was found
at lllahun.
Ankh^ (Fig. 4, 13). "Attendant
of the  "
Sebek-aa-senes.'Senb-fy. "Overseerof the Lake."
Sehui. "Overseer of the Store
house of the Palace."
Sebekhetep. "Uartuof the King's
Table," son of the "Uartu of
the King's Table" Mentuhetep.
Several other scarabs of this
official are known. The exact
meaningof the title "Uartu" is
doubtful.
Apu. "Guardian of the Bows."
Min. "High Priest (?) of Osiris."
Neb-re-sehui.* "Sur\e\or." Two
other scarabs of his are
known.
Hor-her. "Overseer of the Pal
ace. "
Nefer-hetep. "Judge, Instructor
of the Scribes."
Senb-ui-su. "Overseer of the
Palace."
Ptah-shent (?). " ' Hati ' Prince. "
Au\-.^ "Governor of the Cit\-,
\'ezir. "
S..., Sutekh.6 "Royal Friend."
Betu(?). "Ro\al Scribe."
Zcf... "Sc-iier."
Khcn-ser. "Superintendent of
Interior."
Senb-sperui (?). "Mistress of the
House" (chief wife).
(Name gone). "Superintendent
of the Department of  "
• Newberry, op. cit., xxix., 2.
^ Id. w., 24. ' Id. xii., 24.
* Id. xi.. 4. 6 Id. xi., 2.
" Id. xiv., 17.

12

<^l

FIGURE 5

^

-^1^:^-

FIGURE 6

¦^?^if^?ww;

FIGURE 7

THE METROPOLITAN MUSEUM OF ART

Ankhu. "Scribe of the Ofl'erings."
Zedu(?). "'Uartu' of the King's
Table."
Ncfer-iu (2 examples). There is
a third scarab of this official in
the Berlin Museum.
Name doubtful (4 examples).
These four seals belonged to
the same person, but the name
and title are indecipherable.
Y-ab.^ "Mistress of the House"
(chief wife).
Ptah-hetep. One other scarab of
this official is known.
Amenemhat.
Nefer-khred. "'Hati' Prince."
Antef. Antefa. Ptah-neterui-ka.
XVI II. dyn. Men-kheper-ra-senb.^
"Superintendent of the Work
men of Amen."
Pe-n-thebu.^ "Steward of the
Queen's -House. "
Thothmes (3 examples).
Amenhetep (4 examples).
Men-kheper-yker.
Tar. "Superintendent of the Pal
ace, Royal Scribe."
XIX. dyn. Bak-n-khonsu.' "High
Priest of Amen," son of the
"Superintendent of the Re
cruits of the Temple of Amen,"
Amenemapt.
Paser. "Governor of the City,
Vezir." Paser was an import
ant official under' Rameses II,
and a number of his other seals
are known.
Rameses. (2 examples).
Seti.
XX-XXIl. dyn. Neb-ma-pek-tahuti.
"Priest of Amen."
Zed-tahuti-auf-ankh. Pimai. "'Erpati' Prince, 'Hati'
Prince, Priest of Osiris." Two
other seals of Pimai are known,
one of them being in the Ward
Collection, which was presented
to our Museum by Mr. J. P.
Morgan in 1905.
¦ Newberry, op. cit. xliv, 14. ' Id. xxix, 4.
' Id. xxix, 6. ' Id. xxx\', 21.

Nes. . . . "Superintendent of the
Priests."
Name illegible. "Priest."
XXVL dyn. Hory. "Priest."
Hor-tefi. "Priest."
Pedu-khonsu. Inscribed "May
Khonsu grant protection to the
Priest Pedu-khonsu."
Ankh-f-n-sekhmet. "Instructor
of the Southern Tens. "
C. Seals of the third class, those with
out names, are found in very large
numbers, scarabs being among the
commonest objects that excavations
on sites subsequent to the twelfth
d\'nast\' produce. So common were
they that it is impossible to believe
that all scarabs were intended for
use as seals. Some, moreover, were
too tin\' to be used for such a pur
pose, while others from the inscrip
tions they bear were evidently in
tended to be worn as amulets. It
is impossible, however, to draw a
dividing line between the seal and
the amulet order of scarab, and they
must be considered together. As
we have said, the unnamed class of
seal presents an extremely varied
selection of decorative designs, no
two of which are exactly alike. For
convenience of classification they
ma\' he subdivided according to
their motives into six groups: —
(a). Spiral and coil designs (Fig.
s, I).
(b). Plant designs.
(c). Animal and human figures,
hunting scenes, etc. (Fig. 5, 3).
(d). Names and figures of gods.
(e). Groups of hieroglyphs not
meant to be translated, but ar
ranged as a decoratixe design.
(Fig. 5, 2).
(f). Mottoes and good wishes.
(Fig. s. 4)
In the first of these groups are to be
found the most beautiful designs
that occur in Eg\ptian seals. The
motive is an earl>- one, beginning in
the twelfth d\nast>', and dying out
in the eighteenth. Coil designs are
also used as border patterns on

14

oi D
O

THE METROPOLITAN MUSEUM OF ART

named scarabs (Fig.4, ' 3)' Plant and
flower designs are generally' later,
though a lotus is occasionally used
in combination with a spiral pattern
of the first class. Animal and hu
man figures are common in the .XII.-
XVIII. dynasty period, buthunting

FIGURE 9
scenes are as a rule later. Names
and figures of gods do not occur until
the XVI II. dynast\': some at least
of this class must have been used as
amulets. Class (e) is very common
in theXII.-XVlll. d\nasty period.
Some of the groupings of hicrogl\phs
are very elaborate, but the s\ni-
metrical nature of the arrangement
makes it quite clear that the\' were
not intended to be read, and there
is no difficultv in distinguishing
them from the last of our groups.

This last group, containing the
mottoes and good wishes, has a more
direct human interest than any of
the others, and it is unfortunate
that the inscriptions on so many of
these seals have proved quite un
translatable. The mottoes that can
be translated are of a stereotyped
order, and betray a somewhat
Pharisaical self-satisfaction. Such
phrases as " Khonsu is my protec
tion," ",My life is from Khonsu,"
" Loving truth, " " Ra will provide, "
" Ra is behind me, I have no fear, "
"Protection and life come from the
e\e of Ra, " " Pleasing to the e\e of
Ra " are common, while three of the
seals in the collection cheered the
hearts of their owners with the lyric
al outburst," How beautiful beyond
every face is that of Ptah when he
bestows strength." The "wish"
seals were presents given by one
person to another to mark an anni
versary or some other special occa
sion. Two scarabs and a plaque in
our collection bear the inscription
".May Ra grant you a happy New
Year." " .May \our name be estab
lished, ma\- \ou have a son" (Fig. 5,
4), and ".May your house flourish
every da\ " are alternative New
Year wishes that occur, and it is per
haps worth noting that the Eg\ p-
tian of to-day uses almost exactly
the same phrases in offering you his
New ^'ear's greetings. Other "wish"
seals represented in the collection
are " ,Ma\' you ha\ e a good journey
to Thebes," ".Ma\' your name be
established in the House of Osiris, "
and " Ma\- Bast grant love. "
In addition to the seals already described
there are also in the collection a consider
able number of signet rings. The earliest
t\pe is found in the .\I1. d>nast\', and con
sists of a simple metal wire, usuall\' gold,
which is passed through a scarab, and is
then t\\ isted on itself to form a ring. This
t\pe persists into the .Will, and XIX.
dynasties (see example in Fig.4), but from
the .X\lll. d\nast\ onwards the common

16

THE MURCH COLLECTION OF EGYPTIAN ANTIQUITIES

type is of metal throughout, gold or bronze,
ring and bezel being made in a single piece.
Glazed pottery rings of this later style are
also very common in the XVIIL dynasty.
Among the rings or parts of rings repre
sented in the collection are included two of
X 1 1 .-XIV. dynasty officials named Mery-ra
and Nes-Khu; one of Thothmes 1 1 1 . ; one

sists of a very interesting series which were
issued from time to time by Amenhetep 111.
to commemorate certain events in his
reign. Four sets of scarabs are known in
this series, and two of them are represented
in the Murch Collection. The first (Fig.
8, 2), of which about 40 examples are
known, relates the lion-hunting exploits of

H 1

FIGURE 10

each of Amenhetep HI. and Tii; eighteen
of Akhenaten; one of Nefertiti; one of
Ankh-kheperu-ra; one of Horemheb; two
of Tutankhamen; one of Ankh-s-n-amen;
one of Seti L; three of Rameses 11.; one
of Merenptah; one of Rameses VI. (?); and
one of a XXVL dynasty official named
Ptahhetep. Two other classes of scarabs remain
which are very large in size, and are quite.
distinct from the seal varieties. One con-

the King, who describes how between the
first and the tenth years of his reign he
"shot with his own bow 102 lions, fierce
ones"; while the second (Fig. 8, i) com
memorates the celebration of his marriage
with Queen Tii.
To the remaining group of non-seal scar
abs belong those which are known by the
name of "heart scarabs." These were
placed inside the wrappings upon the
breasts of mummies, and their use as amu-

THE METROPOLITAN MUSEUM OF ART

lets is indicated by the fact that upon the
base of each example is inscribed in more
or less complete form the 30th chapter of
the " Book of the Dead ", the chapter of not
allowing to be rejected the heart of the de
ceased in the underworld." In the papyrus
copies of the "Book of the Dead" the vi
gnette which accompanies this chapter rep
resents the deceased in the scales, being
weighed against his own heart by Thoth in
the presence of Osiris. In the .Murch Col
lection there are 20 of these heart scarabs,
datingfrom the XVIIL to theXXVI. dyn
asties. Many of them are so carelessly in
scribed that it is difficult to decipher the
name, while in others thespace intended for
the name has never been filled up, showing
that such scarabs were kept in stock by the
undertakers, and could be got ready for
use at a moment's notice simply by filling
in the name of the deceased.
The remaining classes of material in the
collection must be treated more briefly. In
the first place, in addition to the named
seals and scarabs, there are a considerable
number of other objects of various kinds
which are inscribed with the names of kings
or notables. For convenience of reference
these are arranged in chronological order
in the subjoined table —
Xll.dyn. Forehead pendant of Am
enemhat III.
X 1 1 1 . dyn. 1 ncomplete plaque giving
name Ra-kha-ka(?), and Horus
name Neb-semtu. The reading
is not quite certain, but we know
from Manetho that there was a
king of this name in the XI II.
dynasty, and the color of the
glaze agrees well with that dating.
The Horus name is otherwise un
known.
XVIIL dyn. Named objects of this
dynasty are very common. Here
we have "sacred e\c" amulets of
Amenhetep L, Thothmes 1 1 L, Am
enhetep IL, Thothmes iV., Am
enhetep 111. and .Akhenaten ; beads
and pendants of Amenlielep I.,
Hatshepsut, Amenhetep III., his
daughter Hent-taui, and Akhen
aten; seal niDLilds of Akhenaten,
his wife Nefertiti, Tutankhamen

and Horemheb; and lastly, what
is perhaps the most valuable piece
in the collection, a "kohl "-tube,
inscribed with the names of Am
enhetep HI. and his queen, of that
rich deep blue which is so charac
teristic of his reign (Fig. 9).
XIX. dyn. Three wooden clamps, a
pendant and an incomplete ushab-
ti of Seti L; an object of unknown
use in red granite, three pendants,
a glass heart amulet, two beads
and a seal mould of Rameses 1 1.;
three incomplete ushabtis, one
complete tile and five tile frag
ments from foundation deposits;
and a pendant of Seti II. To this
dynasty also in all probability be
longs a limestone canopic jar,
dedicated to a princess, hitherto
unknown, named Aniy.
XXI. d\n. A bead of Herhor; three
ushabtis of Hent-taui, the wife of
Piankh; three ushabtis of Panez-
em 1. (Fig. 10, upper row); an
ushabti of Ramaka, wife of
Panezem I.; and four ushabtis
and an amulet of Zed-khonsu-auf-
ankh, son of Panezem II. These
eleven ushabti, or servant, figures
must have come from the great
find of ro>al mummies at Deir el
Bahari in 1881. Others from the
same find were purchased by
our museum from the Egyptian
Go\ernment in 1886, and the
two sets combined will now give
us a fairly complete selection of
the ushabtis of these XXL dy
nasty priest kings and their
families. There are also in the
Murch Collection ushabtis of
six inferior priests of the same
period (Fig. 10, lower row).
XX HI. dyn. Glazed limestone frag
ment, giving both cartouches of
Amenrud. This is a very rare
king, the only other museum
objects of his that are known be
ing a crystal vase in the Louvre,
and a wooden fragment in Berlin.
XXV. d\n. Five beads and a plaque
of Shabaka; a large bronze stamp

J

FIGURE I I

FIGURE 12

THE METROPOLITAN MUSEUM OF ART

of Shabatoka; and a fragment of
an alabaster jar with the name of
Queen Amenardus.
XXVL dyn. Five pendants, an ivory
. forehead pendant, a lapis lazuli
"sacred eye" amulet, and an in
complete "menat" pendant of
Psamtek 1.; four tiles fromafoun-

II.; silver coins of Alexander the
Great, Ptolemy I., Ptolemy IX.,
Ptolemy X., Ptolemy XL, Nerva,
Trajan, HadrianandAelius,Verus,
and bronze or copper coins of
Tiberius, Claudius, Nero, Trajan,
Hadrian, Antoninus Pius, Probus,
Licinius and Constantine. The

FIGURE 13

dation deposit of Shapenapt, wife
of Psamtek L; a bead ot Psamtek
IL; a seal mold and two "menat"
pendants of Nekau; a pendant,
two incomplete"menat" pendants,
and three pieces of black granite
with cartouches of Haa-ab-ra; a
bead, and three pieces of sistrum
handles of Aahmes-sa-neith.
To this period also belong a num
ber of fine ushabti figures, notably
four of a certain "Admiral of the
Fleet" named Pa-n-hebu.
XXX. dyn. Bead of Nekht-neb-f.
Coming down to later times we
have a seal impression of Arsinoe,
wife of Ptolemy 1 1 . ; a bronze stamp
of Hadrian; gold coins of Vespa
sian, Valentinian, Valens, Herac-
lius, Constantine and Justinian

majority of these coins were
struck at the Alexandrian mint,
but some are from the mints of
Constantinople, Citium and Sala-
mis. In addition there are a
gold coin of one of the Abbaside
Khalifs, a coin of Sala ed Din, and
aVenetiancoinoftheXV. century.
Another class of objects in which the
Murch Collection is well represented is
that of amulets. Amulets in one form or
another are the most persistent of all
classes of Egyptian material, nor, in dealing
with a people in whose religionmagic played
such a prominent part, is that at all to be
wondered at. Indeed so deeply were the
Eg\ptians imbued with the idea of fulfilling
their material or spiritual wants, and of
averting danger or disaster by means of

20

FIGURE

magical figures and formulas, that it would
almost be true to say that all their tomb
furnishing and decorations were amuletic
in origin. For example, each Canopic jar
was presided over by a deity whose prov
ince it was to protect from destruction
the portion of the body contained in it;
ushabtis were figures which a magic formula
would quicken to life in the next world to
work for their owners; boats, weapons,
models of furniture, and all the other neces
sities of this life were placed in the tomb
in anticipation of a want which their owner
was sure to feel in the next; food offerings,
or later sculptured representations of food
offerings which a knowledge of magic would
make equally available, were provided for
the same reason; pictured scenes, repre
senting the dangers which threatened the
deceased in his passage into the next world,
together with the correct magic formulas

by which they might be averted, were in
scribed on papyrus or tomb wall to prompt
the forgetful or ignorant; in a word, every
thing in the tomb was designed to meet some
particular special need in the new form of
life, and in that sense were almost as much
amuletic in their nature as the tiny figures
or charms which are usually associated with
the term amulet. Nor was it only in their
pious care for the dead that the Egyptians
made use of amulets. To an almost equal
extent their everyday existence was tinged
with magic, and the most ordinary affairs
of life were regulated by superstition. Evil
spirits were exorcised, and beneficent ones
cajoled into granting favors, by the use of
spells and magic names; votive offerings
were placed in temples to ensure to their
donors the protection of the deity whose
name they bore; lucky and unlucky days
were carefully watched out for; charms

FIGURE 15
21

THE METROPOLITAN MUSEUM OF ART

were carried or hung up in the house to
avert special dangers such as snake-bite or
death from drowning; while the medical
recipes preserved remind one forcibly of the
contents of the witches' caldron in Mac
beth. Small wonder then if the sand of
Egypt is full of amulets.
They occur — we are using the term
"amulet" now in its more restricted sense
— in Egyptian graves of every period, and,
except in certain well-defined cases, are of
course extremely difficult to date with any
close degree of accuracy. An examination
of a large collection such as this, however,
brings out very clearly the great difference
that exists between the earlier and the later
amulets, and the fact that it is possible to
draw a fairly sharp dividing line between
those of the two periods. This line of
division is ruled for us by the dark period
of foreign domination which lay between
the Xll. and the XVIIL dynasties; and
though on the one side or the other a
latitude of four or five dynasties must fre
quently be allowed, there is very rarely a
question as to which side of the line any
given amulet belongs. In the earlier period
the types of amulets were comparatively
few,andconsistedaImostentireIy of animals
or heads of animals, human hands, legs,
and faces also occurring. They differ from
the later typesin that they were very small,
and were all made of precious or semi
precious materials, carnelian, beryl, ame
thyst, and gold being most sought after.
They were worn commonly on necklaces,
and hence must have an ornamental as well
as a magical value. With the advent of
the XVI 11. dynasty came a great change,
due in part no doubt to the growing influ
ence of the Theban priests of Amen; an
influence which was itself a direct result
of the change that was coming over the
general character of the religion of the
country. Even in its earlier stages the
religion of Egypt was by no means a simple
or easy one to comprehend: in later times,
owing to the fact that the Egyptian
adopted with enthusiasm any new god he
might hear of, or any new point of doc
trine that might happen to occur to him,
and yet never by any chance gave up any
of the old ones, it arrived at a state of con

fusion which defies description. In its
later developments at least three quite dis
tinct and entirely contradictory doctrines
with regard to the future state were in
volved, and the Egyptian with fine impar
tiality believed them all. It will readily
be understood then that the character of
amulets would change, and their scope be
enlarged. Many of the old amulets, such
as the "foot" and "hand," "hippopota
mus head" and "leopard head," disap
peared altogether. Others in animal form
persisted, but were worn, not as mere ani
mals any more, but as representatives of the
gods whose sacred animals they were.
Little figures of the gods themselves came
into use, and became increasingly popular,
and a number of other forms, much more
involved and incomprehensible in their
symbolism, such as the "girdle tie," sup
posedly representative of the blood of Isis,
were added, and became regular parts of
the equipment of the mummy. In the
Murch Collection there are 24 varieties of
amulets belonging to the early class, and
74 to the late; and a further illustration
of the great increase in the amulet's sphere
of influence is given us by a late docu
ment, which states that no less than 104
varieties were considered essential to the
proper furnishing of the mummy.
It is of course impossible in dealing with
a collection of amulets which numbers sev
eral hundred examples to attempt to de
scribe the individual pieces. One group,
however, calls for special mention. It
consists of a set of seven deities, in wood;
Isis with outstretched protecting wings,
Horus, Anubis supporting a "dad" sign,
Anubis with bow and arrow, Min, Ptah-
Sokar-Osiris, and an ichneumon holding a
sacred e\e. As may be seen in the ac-
compan\ing illustration (Fig. 11) the fig
ures are exquisitely modeled, the details
on some of them being worked out with
such care and precision that to be prop
erly appreciated they must be seen under a
magnifying glass. For the rest we may
single out a frog in lapis lazuli with gold
e\es, a gold figure of Isis (Fig. 19), a
glazed pottery figure of Bast, and a large
figure of Taurt in glazed frit (Vignette on
cover).

'f \

'if'i f

- D.j^.Ripg^

»^

LiiL^yi f

FIGURE

THE METROPOLITAN MUSEUM OF ART

Votive figures are so akin to amulets in
their purpose that it would almost be justi
fiable to include them under one heading.
Moreover, in Egypt at any rate it is im
possible to distinguish between the votive
and the propitiatory type of ofl'ering, be
tween the gift, that is to say, which ex
pressed thanks for past favors and that

Osiris, Imhetep, Harpocrates, the Apis bull
(Fig. 13), and the cat of Bast. Figures of
this kind are also common in stone and
other materials: two of lapis lazuli are
shown in Fig. 12, representing the goddess
Maat and the hawk of Horus.
Objects in glass are also well repre
sented in the collection. In Fig. 14 is

which anticipated benefits to come. In
both cases the usual form that the offering
took was a figure, or number of figures, of
some god or of his sacred animal; the figures
being eitherplaced within the temple itself,
or buried in the ground within its precincts.
Bronze seems to have been the favorite
medium, and statuettes of this material are
extremely common. Osiris naturally held
chief place in popular esteem, but practi
cally all the gods are represented, and in
late times the plan was even adopted of
combining the distinguishing features of
two or three gods in a single figure, thereby
securing their united protection in a very
economical way. An example of this
occurs in the Murch Collection, a seated
ithyphallic figure having the flail of Min,
the ram horns of Amen, and the back of a
bird. Among other bronze votive figures
in the collection there are statuettes of

shown a group of five vases of the type that
until quite recently has always gone by
the name of PhcEnician. They have been
found in many quarters of the Mediter
ranean, but, as Kisa^ has pointed out, there
can be no question that their original home
was in Egypt, and that if any were man
ufactured abroad they were but imitations
of Egyptian originals. In the first place, it
was in Eg\pt that glass was invented, and
in the eighteenth d\nasty (about 1500
B. C), some eight or nine hundred \ears
before the date of the so-called Phoenician
ware, glass-making was a flourishing trade,
and exceedingl\' beautiful vases were being
manufactured. These early vases, more
over, were so similar in shape and tech
nique to the later ones that in many cases
it is exceedingly difficult to distinguish be-
• Kisa, Das Glas im Altertume. Leipzig,
1908. Vol. 1 p. 95.

24

THE MURCH COLLECTION OF EGYPTIAN ANTIQUITIES

tween them. If then we grant that the
later vases were foreign, we have to make
ourselves believe that a somewhat peculiar
type, both in shape and technique, com
pletely died out in one country, and that
precisely the same type was reintroduced
into it after a lapse of time by another. As
a matter of fact, however, our Egyptian

Of the five vases in the photograph No. 5
dates to about the thirteenth century B. C,
4, 3 and I to the eighth or seventh, while
the second is possibly early Ptolemaic.
They were hand molded" on a sand core,
colored sticks of glass were wound round
and pressed in, and the pattern was formed
by dragging the surface of the vase while

FIGURE 18

expedition of the Metropolitan Museum
has found in its work clear proof that the
ware did not by any means die out in
Egypt. In a town site at Lisht, some four
hundred years later in date than theX VI 1 1 .
dynasty, definite evidence was found of the
manufacture on a large scale of this very
type of glass. We know, moreover, that
Egypt at this later period was doing a con
siderable trade with neighboring countries,
that the early historians all speak with ad
miration of the glass of Egypt, that the
Alexandrian glass-workers were famed for
their handiwork, and that under the Em
perors glass, in one form or another, formed
part of the annual tribute to Rome. Every
thing points to the fact that in ancient times
Egypt was the great center of the glass-
making trade, and it is really difficult to see
on what grounds the claim of Phoenician
origin for this type of vase has been based.

still soft. Blown glass was a discovery of
considerably later date.
To Egypt also is due the invention of
mosaic glass so-called, in which a number
of tiny rods of various colors were as
sembled to form a pattern, and then
lightly fused into a single mass, the pat
tern thus running lengthwise throughout
the whole piece. Many of these mosaic
designs were on much too minute a scale
to have been made in their present size.
In Fig. 15, for example, we have a case in
point, the details of the frog's wings and
of the bird's tail being so delicate that they
can hardly be seen without the aid of a
magnifying glass. In order to attain this
result the original design was made on a
very much larger scale. The fused rod was
then drawn out evenly, and, as a natural
consequence, the thickness of the rod being
lessened in proportion to the increase in its

25

THE METROPOLITAN MUSEUM OF ART

length, the design itself was correspond
ingly reduced in size. The rod thus drawn
out to the required length was cut into thin
slices, each slice exactly reproducing the
original design. The slices, if intended for
inlay, were then backed with common glass
and were ready for use. In addition to a
large number of these slices, square, round
and oblong, in the Murch Collection there
are fortunately preserved for us two of
these rods, drawn out ready to be sliced.
There are also pieces of millefiori vases,
small grotesque faces and animal heads,
and several colorless vases of blown glass
all of the Roman period.
Beads of various kinds form another
important part of the Collection, and these
are particularly welcome, as our Museum
has hitherto been but poorly represented
in this class of material. Of glass beads
there is a very large assortment — opaque
beads of various colors of the XVI II. -
XX. dynasty period, "eyed" beads of the
later period up to the Ptolemaic, and a
large collection of beads of the Roman
period, including mosaic, millefiori, gilt,
silvered, and "marbled." The most in
teresting of the glass beads are the imita
tions of various kinds of stone^amethyst,
lapis lazuli, garnet, beryl, agate, onyx and
hematite being all thus anciently counter
feited — in some cases so cleverly that it
is almost impossible to distinguish the
false from the real. Among the beads of
other materials there are some fine ame
thyst, garnet, and hematite necklaces of
the Xll. dynasty, and carnelian and glazed
pottery strings of various periods, all the
way from predynastic to Coptic.
In addition to the material already de
scribed, which fell naturally into groups,
there still remains a large miscellany of ob
jects which should not be passed over in si
lence. It will be easiest perhaps to divide
them into chronological periods, a plan
which will have the additional advantage of
showing to some extent the wide scope of
the collection. Thus, of the predynastic
period we h£\ve a very unusual decorated
pottery box, and seven decorated pottery
vases (Fig. i6); seven stone vases, two of
which are of considerable size; several finely
worked flint implements, and a pair of the

flint bracelets that occur so rarely; an ivory
hair comb; and a number of stone mace-
heads, playing marbles,' and other small
objects. Somewhat later in date, and be
longing to the period of the eariiest dynas
ties, there are three more flint knives, and
some small stone vases. To the VI. -XI.
dynasty period belong another series of
small stone vases. The Xll. dynasty is
represented by several interesting objects.
First in importance comes the obsidian
statuette head in Fig. 17. This is a charm
ing and delicate piece of work, and affords a
very good example of the control which the
Egyptians had over this unresponsive
medium. There are also three wooden
dolls; a delightful vase of blue marble, the
sides of which are supported by a pair of
monkeys in high relief; and a number of
"kohl" pots and other alabaster vases.
Among other XVIIL d\nast\' objects occur
— the head of a granite statue; the head of
an alabaster statuette of a king (Fig. 18);
a gold earring with cloisonnd inlay of lapis
lazuli (Fig. 19); an alabaster pestle and
mortar; two alabaster tubular vases; three
bronze axe-heads; a fine bronze mirror,
with handle in the form of an erect female
figure; and a number of glazed pottery
pendants and pieces of inlay which must
have come from the palace of Akhenaten
at Tell el Amarna. Three of the four
pendants shown in Fig. 20 are inscribed
with Akhenaten's motto " Living in the
Truth." Among the objects of a later
dynastic time we may notice three open
work rings of glazed potter>(Fig. i); a stat
uette head in basalt.ofverx- good workman
ship; and a glazed pottery flask of the kind
known as "New Year" flasks, it being the
custom for the master of a house to receive
one or more as a gift from his children or
dependents on New Year's Da\-. This ex
ample has " May Ra grant a happy New
Year to their lord " on one shoulder, and on
the other "May Isis grant a happy New
Year." To the Ptolemaic period belong a
number of wooden "mummy labels" or
tags, which were fastened to mummies for
purposes of identification; a very necessary
precaution, for at this period it was com
mon among the poorer classes to bury a
number of people together in one common

:6

FIGURE 19

FIGURE 20

FIGURE 21

THE METROPOLITAN MUSEUM OF ART

tomb. The labels are inscribed, some in
demotic characters, some in Greek, and
some in both. To the end of the Ptole
maic and earlier part of the Roman periods
belong also — an interesting little collection
of jewelry, consisting of gold chains, ear
rings and finger-rings, a selection of which
is shown in Fig. 21; a large variety of
gems, classical and gnostic; and a number

of playing marbles. Of the Coptic period
we have a number of ostraca; a large
wool-carding comb of wood, and a wooden
stamp; and a number of crosses of bronze,
glass, wood and mother-of-pearl. Last of
all, to the early part of the Arab domina
tion must be assigned a piece of embroidery
and a number of glass bracelets.

FIGURE 22

28