This annotation was created by Emilia Porubcin. The last update was by Christina J. Hodge.

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Our Dark Materials: Rediscovering an Egyptian Collection

DEATH & MEMORY

Among the human impulses recognized across this exhibit is the desire not to be forgotten.

Most items here—like most archaeological finds from Egypt—are from funerary contexts. Remembering the dead and sustaining them through well-chosen goods and proper actions was crucial to ancient Egyptian religious beliefs for thousands of years. As the inscription on the collection’s most elaborate burial container (the Senchalanthos cartonnage) entreats, “let her name be rejuvenated every day.” Museums are a different form of memory than burial; the numbers we write on things a different kind of inscription. Our treatment of other people’s memories is not without controversy. But, we hope, our exploration of these artifacts provides some fulfillment of that familiar wish to be remembered.

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This coffin covering was intended to protect the remains of a woman—likely named Senchalanthos—for eternity. What remains after the 1906 earthquake flattened Stanford’s museum is a puzzle of missing pieces, never to be completed. Among hundreds of fragments, we find: bright flower-shaped patterns, depictions of four funerary gods, and writing scrawled onto the cartonnage. The Demotic inscription reads: “May her name be rejuvenated every day.” In recognizing her name in this exhibit, we hope to rejuvenate her spirit.
While the rich and powerful were buried in tombs of stone, ancient Egyptians with smaller budgets buried their loved ones underneath a soul house like this one. These models represented shelter and offerings to sustain the deceased. A complete example is shown in a nearby picture. The fragments displayed here represent the deceased individual with a table and bowls of food, alongside cuts of meat. The rough fabric and cursory shaping of the clay highlight the common status of the recipient. This item was destroyed in the earthquake of 1906, but its surviving fragments are whole enough for interpretation. While the craftsman paid little attention to detail, this soul house was sturdy enough to fulfill its purposes: to survive the tests of time and provide continual offerings to the buried in the afterlife.
These fragments preserve the image of an unknown individual in their ultimate, mummified state. Per artistic convention, the thick linear pattern, seen on both the mask and larger surrounding fragments, symbolizes the bandage wrappings encompassing the deceased. It likely framed other designs, including of the sister goddesses Iris and Nephthys. Although now divorced from the body, this cartonnage revitalizes the deceased through the pictorial and symbolic representations of them in life, death, and afterlife.
These fragments preserve the image of an unknown individual in their ultimate, mummified state. Per artistic convention, the thick linear pattern, seen on both the mask and larger surrounding fragments, symbolizes the bandage wrappings encompassing the deceased. It likely framed other designs, including of the sister goddesses Iris and Nephthys. Although now divorced from the body, this cartonnage revitalizes the deceased through the pictorial and symbolic representations of them in life, death, and afterlife.
The versatility of metal allowed craftsmen creatively to form the ubiquitous Osiris in varying poses. Osiris, one of the most popular gods of the Egyptian pantheon, was perceived during his lifetime as the incarnation of the principal god Horus and became Osiris after death. Osiris was eventually equated with all deceased individuals and became a symbol of resurrection, making him one of the most common deities to be formed as a funerary object. Bronze figurines of Osiris take two basic forms: seated or standing. There are also three common arm positions: crossed; fists touching; and right arm over left. This placement may be associated with different geographical regions in Egypt. Smaller bronze Osiris figurines cast with a loop were worn as amulets, kept close to the body in life and death to bestow protection, healing, and luck. The most technical of the three forms, the amulet required precision and advanced casting techniques in order to create the rear suspension ring.
Despite lacking provenance, these fragments provide significant interpretive possibility. They show the layout and ritual scenes typical of yellow-varnished coffins. White linen robes and a leopard’s-fur wrap identify the disembodied figures as priests. Hieroglyphs run along flat, abstract surfaces. They suggest the formulaic “[Osiris] ruler-of-eternity” and reference the heart, seat of intelligence, memory, and action. Painted plaster has given way to fractured wood. Originally unseen, the fragments now invite us to study construction, materiality, and socioeconomic context.
The versatility of metal allowed craftsmen creatively to form the ubiquitous Osiris in varying poses. Osiris, one of the most popular gods of the Egyptian pantheon, was perceived during his lifetime as the incarnation of the principal god Horus and became Osiris after death. Osiris was eventually equated with all deceased individuals and became a symbol of resurrection, making him one of the most common deities to be formed as a funerary object. Bronze figurines of Osiris take two basic forms: seated or standing. There are also three common arm positions: crossed; fists touching; and right arm over left. This placement may be associated with different geographical regions in Egypt. Smaller bronze Osiris figurines cast with a loop were worn as amulets, kept close to the body in life and death to bestow protection, healing, and luck. The most technical of the three forms, the amulet required precision and advanced casting techniques in order to create the rear suspension ring.
Flint knapping is the art of chipping away material from flint or other fracturing stone to create sharp points or tools. An example of flint knapping at its finest, this ceremonial blade was made in pre-Dynastic Egypt, possibly as an honored burial item as it shows no wear. Blades like this are often discounted as primitive and unsophisticated because they’re made of stone. However, the perfect strokes and precise pressure flaking indicates that this blade was made by a sophisticated professional craftsman.
The versatility of metal allowed craftsmen creatively to form the ubiquitous Osiris in varying poses. Osiris, one of the most popular gods of the Egyptian pantheon, was perceived during his lifetime as the incarnation of the principal god Horus and became Osiris after death. Osiris was eventually equated with all deceased individuals and became a symbol of resurrection, making him one of the most common deities to be formed as a funerary object. Bronze figurines of Osiris take two basic forms: seated or standing. There are also three common arm positions: crossed; fists touching; and right arm over left. This placement may be associated with different geographical regions in Egypt. Smaller bronze Osiris figurines cast with a loop were worn as amulets, kept close to the body in life and death to bestow protection, healing, and luck. The most technical of the three forms, the amulet required precision and advanced casting techniques in order to create the rear suspension ring.
Despite lacking provenance, these fragments provide significant interpretive possibility. They show the layout and ritual scenes typical of yellow-varnished coffins. White linen robes and a leopard’s-fur wrap identify the disembodied figures as priests. Hieroglyphs run along flat, abstract surfaces. They suggest the formulaic “[Osiris] ruler-of-eternity” and reference the heart, seat of intelligence, memory, and action. Painted plaster has given way to fractured wood. Originally unseen, the fragments now invite us to study construction, materiality, and socioeconomic context.
Perhaps taking inspiration from Mesopotamian technology, ancient Egyptians crafted this decorated item to keep valuables secure in life and death. It entered the collection with fragments of jewelry, so we assume this lock once kept jewelry protected from thieves or tomb robbers. Adornments were so commonplace in ancient Egypt, jewelry was a “luxury” that became almost a necessity. Thus, many people needed a place to keep it safe. This piece draws further parallels between contemporary and ancient experiences. Just as we have special places to put valuables, so too did ancient Egyptians.
While the rich and powerful were buried in tombs of stone, ancient Egyptians with smaller budgets buried their loved ones underneath a soul house like this one. These models represented shelter and offerings to sustain the deceased. A complete example is shown in a nearby picture. The fragments displayed here represent the deceased individual with a table and bowls of food, alongside cuts of meat. The rough fabric and cursory shaping of the clay highlight the common status of the recipient. This item was destroyed in the earthquake of 1906, but its surviving fragments are whole enough for interpretation. While the craftsman paid little attention to detail, this soul house was sturdy enough to fulfill its purposes: to survive the tests of time and provide continual offerings to the buried in the afterlife.
While the rich and powerful were buried in tombs of stone, ancient Egyptians with smaller budgets buried their loved ones underneath a soul house like this one. These models represented shelter and offerings to sustain the deceased. A complete example is shown in a nearby picture. The fragments displayed here represent the deceased individual with a table and bowls of food, alongside cuts of meat. The rough fabric and cursory shaping of the clay highlight the common status of the recipient. This item was destroyed in the earthquake of 1906, but its surviving fragments are whole enough for interpretation. While the craftsman paid little attention to detail, this soul house was sturdy enough to fulfill its purposes: to survive the tests of time and provide continual offerings to the buried in the afterlife.

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