FIGURINE OF A PRIESTESS FROM THE BRONZE HORDE AT MIT-RAHINA
(EGYPTIAN MUSEUM, CAIRO JE 35107L)
Sergej V. Ivanov
Abstract
In winter 1901 A. Daninos Pasha carried out excavations at Mit-
Rahina (Egypt), where he uncovered a part of a palatial complex
that can be provisionally identified as back rooms of the Palace of
Apries. In the foundation of the building he discovered a horde of
bronze objects containing decorative plaques, mirrors, menit-
counterpoises, etc. One of the hordes items is the upper part of a
figurine representing a nude woman with a sidelock of youth, an
aegis on her left shoulder and an unusual headdress. These features
indicate that the figurine was an ex-voto of an upper-class Egyptian
lady who was associated with the xnrt of the goddess Mut.
KEY WORDS: LOCUS: Memphis, Kom Tuman, Palace of Apries; MUSEUMS:
Egyptian Museum, Cairo; CHRONOLOGY: Dynasty XXVXXVI; ANCIENT
EGYPT: Sidelock of Youth, Aegis, xnrt, Female Priesthood, Religion; ART:
Bronze Sculpture
Introduction
In the beginning of 1901 Albert Daninos Pasha conducted
excavations at a certain twenty-meter high mound at Mit-
Rahina. Having unearthed the eastern part of the hill,
A. Daninos discovered a mudbrick construction measuring
200 18,25 m. Preserved height of the building amounted
to 17,60 m. The outer walls were quite massive 6 m thick.
The inner space was organized with parallel 3 m thick
partitions forming a line of 19 compartments 7,58 6,25 m.
Each of the walls was pierced with horizontal rows of beam-
holes clearly indicating that the room was divided into
5 floors, each 2,4-2,6 m high. The purpose of these chambers
was defined as back rooms of a palace that was to be
excavated in the western part of the mountain1.
Unfortunately, the location of this hill is obscure. In the only
record of the excavations a two-page note published three
years later A. Daninos stated that the site was situated
to the North of the ruins of Memphis2. Two years earlier
G. Daressy, who published the objects that were found
during these excavations, gave a no less vague description:
the ruins to the East of the lake and to the North of Tell el-
Nawa3. Though these descriptions point to a vast area,
the only possible location of the site is related to the Palace
of Apries at Kom Tuman. Though the landscape of the Kom
has been rapidly changed, we have no recorded information
of any other big mounds that might have existed in the area
at the beginning of the XX century. The technical
peculiarities of the building that was unearthed by
A. Daninos also have much in common with the construction
of the palace. However, W.M. Flinders Petrie,
* I am grateful to Dr. Mamdouh El-Dalmaty, the former Director of the
Egyptian Museum, for granting permission to study and to publish this
object; and to Mr. Mahmoud El-Halwagy, First Curator of the Museum, for
his assistance and providing a possibility to examine the object. I am
indebted to Drs. Maya Mller for reading the manuscript and her valuable
suggestions. I would also like to thank Mr. Edward Loring for his comments
on the article and correcting my English. The mistakes, if any, are of course
mine.
1
Daninos Pacha, A.: Note sur le fouilles de Mtrahyneh, ASAE, 5, 1904,
p. 142143.
2 9
Daninos Pacha: Note..., 1904, p. 142.
3
Daressy, G.M.: Une trouvalle de bronzes Mit Rahineh, ASAE, 3, 1902,
p. 139.
who excavated the palace eight years later, neither mentioned
a single word of A. Daninos work nor incorporated this
structure into his general plan of the palatial complex4.
Horde of Bronze Objects
1,6 m below the foundation of the building A. Daninos
discovered a horde of bronze objects. It included more than
15 decorative plaques of rectangular shape that were
probably used for embellishing boxes or chests. The face
sides of the plaques were decorated with open-work or
engraved representations of a king the Nile god Hapy
carrying an offering stone. Among the other objects were six
mirrors of different size; five combinations of aegides with
menit counterpoise depicting the scenes of birth of the Sun-
god out of lotus blossom, suckling of a king and royal Horus
name; upper part of a figurine; and 18 fragments of large
inlays (a hand, a collar, nw-vessel, crowns, etc.) that were
presumably used for the decoration of furniture5.
All the objects were moved to the Cairo Museum, where they
still have an individual showcase in the upper gallery
exposition. The number of items registered by G. Daressy
is 42, but it is evident that others were sold prior to the
recording, as several similar plaques are known from the
collections of the Baltimore Walters Art Gallery6,
the Moscow Pushkin Museum7 and other collections, thus
increasing the total number to at least 47. Besides, as was
mentioned by G. Daressy, some of the objects were in rather
poor condition8 and were probably lost.
Most of the objects are inscribed with the names of the kings
Piankhy, Psametik II, Apries, Ahmose and the ones
of Divine Consorts of Amun Amenirdis and Shepenupet.
Stylistically the items are also dated to the XXVXXVI
Dynasties.
Besides mentioning the Theban-based institution of the
Divine Consorts of Amun, the central part of the mirror
decoration represents the Theban triad Amun, Mut and
Khonsu and the god Montu. This caused some scholars to
assume that the objects of the horde are of purely Theban
origin and that they were, at some time, brought to Memphis
as a result of plundering or other circumstances9. However,
the depiction of the Memphite gods Ptah, Sekhmet,
Nefertem and the Apis bull on the same objects, makes it
4
Petrie, W.M.F.: The Palace of Apries (Memphis II), London, 1909, pl. I.
For the buildings location see also: Kemp, B.J.: A Further Note on the
Palace of Apries at Memphis, GM, 29, 1978, p. 61; Jeffreys, D.: The Survey
of Memphis. Part I: Archaeological Report (EES Occasional Publications
3), London, 1985, p. 4041.
5
Daressy: Une trouvalle..., 1902, p. 139150.
6
Simpson W.K.: A Table of Offerings. 17 Years of Acquisitions of Egyptian
and Near Eastern Art, Boston, 1987, p. 70.
7
Hodjash, S.: The Way to Immortality. Monuments of Egyptian Art from the
Collection of the Pushkin Museum of Fine Arts, Moscow, 2002, p. 209
(Nos 843, 844).
8
Daressy: Une trouvalle..., 1902, p. 150.
Daressy: Une trouvalle..., 1902, p. 150; Maspero, G.: Art in Egypt (Ars
Una: species mille. General History of Art), London, 1921, p. 288
and others.
1
possible to suggest that these bronzes were produced for
a Memphite sanctuary of Amun10.
Description
One of the most remarkable objects in the hoard is the upper
part of a female figurine (Fig. 1). It was only described in
brief by G. Daressy11 while its unusual iconography deserves
a special study which is the aim of the present paper.
The figurine was quite small, the height of the preserved
fragment being 8,8 cm. It was cast by the lost wax technique
as can be seen by diminutive air-bladders on the surface and
slightly degraded features. One should mention the high
quality of workmanship with particular elaboration of small
details nostrils, eyebrows, breasts, locks of hair and
others. Stylistically it shows a propensity for Saite tradition
with idealizing formal stylization, soft modeling of facial
features with the so-called Archaic smile and shows high
mastering and accurate treatment of surfaces.
The woman was represented standing; her left arm, folded at
the elbow, is raised in the gesture of adoration; in the right
arm she carries a statuette of a child with a sidelock on his
left. On her right shoulder the woman bears a combination of
aegis with lions head and menit counterpoise. The latter is
inscribed with three groups of hieroglyphic signs.
Unfortunately due to the tiny size and blurry outlines only
two signs are recognizable. The woman wears a round wig
with a sidelock falling back to shoulder. Above the wig there
is a wide rectangular platform with prominent profile
in the upper part. Remains of solder on the front and top
faces of the platform indicate that it was the base for some
symbol, now missing.
Analogies. There are three parallels contemporary with, or
slightly earlier than this figurine. Two of them are kept in the
Egyptian Museum, Cairo (fig. 2-3)12. The figurines represent
women in the same posture and wearing a similar headdress,
though the rectangular platform in these cases is relatively
smaller. In both figurines the aegides are located on the left
shoulder and surmounted with heads of the goddess Mut
recognizable by the double crown. Another difference is that
unlike the Memphite figurine, which is nude, these women
wear short-sleeved loose dresses.
The third similar figurine, kept in the Brooklyn Museum13,
presents a woman in a long tight-fitting dress. Like the two
above-mentioned figurines this image features a statuette of a
child kept in the left hand and an aegis surmounted with the
head of Isis-Hathor, worn on the right shoulder. We should
note that this woman wears a simple round wig without a
side-lock and rectangular platform on it. Another different
feature of this object is the right hand of the woman, which
10
Doresse, M.: Le dieu voil dans sa chsse et la fte du dbut la dcade,
Rd, 25, 1973, p. 105; Petrie, W.M.F: Memphis I, London, 1909, p. 3.
11
Daressy: Une trouvalle..., 1902, p. 149 (No 37).
12
JE 32784 (fig. 2): bronze, height 17 cm; provenance unknown. The lower
part of this statuette was mistakenly attached to another figurine from
the same collection (JE 30634). JE 37967 (fig. 3): bronze, height 11 cm;
provenance unknown; feet are missing. Both pieces are unpublished.
13
Brooklyn Museum, New York: 37.402 E. Bronze, height 12 cm;
provenance is unknown. Published in: Riefstahl, E.: Doll, Queen or
Goddess?, Brooklyn Museum Journal, 1943/1944, 1944, p. 13.2, fig. 9;
Parlasca, K.: Zwei gyptische Bronzen aus dem Heraion von Samos,
MDAI Athenische Ableilung, 68, 1953, S. 130 (ref. 30), Beilage 46.4.
unlike the previous instances is not raised in the gesture of
adoration but hold an certain object (now lost), presumably
sistrum, as can be seen from her closed fist.
There are also parallels that are temporally, technologically
and even geographically distant from the Memphite figurine,
but they have similar features and thus are worth to be
mentioned here.
The first one is a granite statue of the queen Amanimalel
discovered in Jebel Barkal14. The queen is represented
standing in a long tight-fitting garment with a single strap
that goes over her left shoulder and thus uncovering the right
breast. The right arm of the queen is stretched down, it holds
a menyt-necklace with aegis. Like on the Memphite image,
Amanimalel also carries a statuette of a child held in her left
hand. The small figure kept by the queen can be identified as
an image of Horus the Child as it is shown with a sidelock of
youth and wearing a double crown.
Another figurine represents Renepetneferet, who was
considered as a spouse of Imhotep and personification of
the New Year15. The deity is shown standing with right arm
stretched down on thigh, while her left arm is folded
in elbow and carried an object with handle (a sistrum), which
is now missing. Renepetneferet is depicted in a long close-
fitting dress. As the Memphite figurine she wears a round
wig that is topped with a platform, though in this case the
platform is flat and of cylindrical shape. Its side is decorated
with urai or floral frieze. This platform could be a base for
hieroglyphic symbol of the deity16 or for a bunch of flowers
that would also fit the Ancient Egyptian ideas of eternal
recurrence and annual regeneration.
The next two parallels refer the aegis on shoulder of the
Memphite figurine. The first is a faience amulet figurine of a
naked Nubian girl17. She is represented squatted, with both
hands lying on knees. On her left shoulder the girl carries an
aegis surmounted with lions head. Another one is a faience
ex-voto figure of a corpulent naked woman18. Its
iconography is rich with the symbols of fertility clearly
marked pubic zone, forelock on a shaved head; in each hand
the she carries a kitten and a small basket, her head is
surrounded with monkeys; on each shoulder the woman is
carrying lion-headed aegides.
Lion heads of the aegides as well as representation of kittens
on the latter figure on it link the statuettes to the cult of feline
goddess Bastet, who played an important role in Egyptian
ideas of fertility19. These figurines are also iconographically
related to statuettes of Beset a female dwarf deity who
14
National Museum Khartoum, Inv. No 1843: granite, height 141 cm.
Napata Period, 643623 BCE. Wildung, D.: Sudan. Ancient Kingdoms of
the Nile, ParisNew York, 1996, p. 222223 (Cat. No 231).
15
Private collection (?): Bronze, 17,5 cm. XXVI Dynasty. Aubert, J.F.;
Aubert, L.: Bronzes et or gyptiens, Paris, 2001, p. 299, pl. 23.
16
Aubert, Aubert: Bronzes et or gyptiens..., p. 299.
17
Private collection, Switzerland: faience, height 5,4 cm. XXVI Dynasty.
Page-Gasser, M.; Wiese, A.: gypten Augenblicke der Ewigkeit. Ubekannte
Schaetze aus Schweizer Privatbesitz, Maiz, 1997, p. 217, cat. No 142.
18
Egyptian Museum Berlin, Inv. No 12424: faience, height 18 cm.
Parlasca: Zwei gyptische Bronzen..., Beilage 47; Bult J.: Talismans
gyptiens d'heureuse maternit. Faence bleu-vert pois foncs, Paris,
1991, p. 49 (doc. No 122), pl. 26 a-b.
19
Otto, E.:Bastet, L, I, 628630; Bonnet, H.: Reallexikon der
gyptischen Religionsgeschichte, Berlin, 1952, S. 8082; Bult:
Talismans..., p. 105106.
2
was considered as a protector of childbirth, motherhood and
children20. Beset was usually represented in a company of
child(ren), nursing a baby and carrying her mate Bes on
shoulders or head21.
Aegis. Most of the aforementioned figurines have one
common element an aegis carried on a shoulder. The aegis
itself was an aniconic form for a deity personifying in its ritual
object. It visualized the idea of hidden divine energy
penetrating into the human world, the deity demonstrating its
will and taking part in cult ceremonies22. In general aegides
were involved in cult practices dealing with the renewal of
vital forces and (re)birth. At first, aegides were used in the
most important state ceremonies including the Opet, the
Beautiful Feast of the Valley, the rites connected to reviving of
the royal power (coronation, Heb Sed, etc.) and others. By the
Late Period aegides spread to the other spheres of ritual
they became a part of funerary processions and burial
equipment. The abovementioned two faience figurines is one
of the evidences of using aegides in the folk religion in the
context of magical practice against sterility23.
The origins of the aegis date back to the Eighteenth Dynasty.
Its earliest hitherto known representation is attested in the
Karnak Red Chapel of the queen Hatshepsut. The aegis first
appeared as an element that surmounted prow and stern
of the sacred bark Userhat Amun. Starting from the reign of
Amenophis I, the prow and stern of the bark were finished
with rams heads24. Most likely Hatshepsut was the first
to decorate these images of Amun with collars25. Starting
from this time, aegides became an integral part of the sacred
bark of Amun, and afterwards of many other gods.
With time aegides also became a part of divine standards.
The earliest surviving representation of such a staff is on a
statue of Tuthmosis IV from Karnak26. Despite its poor
preservation there is no doubt that the king was shown
carrying a standard of Amun surmounted with an aegis with
rams head. Since the Amarna period, aegides also formed an
element of small ritual staffs, which were used during home
ceremonies or devoted to a deity in temples27.
In the Third Intermediate and Late Periods a number
of amulets made in the form of an aegis appeared. As a
decorative element aegides were incorporated into jewelry
20
Bonnet: Reallexikon..., S. 116118; Bult: Talismans..., p. 9599.
21
For example, Parlasca: Zwei gyptische Bronzen..., S. 127-136, Beilage
46; Hodjash, S.: God Bes Images in the Ancient Egyptian Art in the
Collection of the Pushkin State Museum of Fine Arts, Moscow, 2004, p.
116117 (cat. Nos 90, 91).
22
Ivanov, S.: Aegis in Ancient Egyptian Art: Aspects of Interpretation,
Egyptology at the Dawn of the Twenty-first Century. Proceedings
of the Eighth International Congress of Egyptologists (Hawass Z., ed.), II,
Cairo, 2003, p. 335337.
23
Ivanov, S.: Aegides in the Context of Ancient Egyptian Cult Practice
of the New Kingdom and the Third Intermediate Period (in Russian),
History and Culture of Ancient and Early Christian Egypt (Sherkova, T.,
ed.), Moscow, 2001, p. 6473.
24
Karlshausen, Ch.: Lvolution de la barque processionnelle dAmon
la 18e dynastie, Rd, 46, 1995, p. 120121, fig. 12.
25
Karlshausen: Lvolution..., 1995, fig. 3; Ivanov: Aegis, 2003, p. 334.
26
.Bryan, B.M.: Portrait Sculpture of Thutmose IV, JARCE, 24, 1987, p. 320
(Egyptian Museum, Cairo, JE 43611).
27
Freed, R.E., Markowitz, Y.J., D'Auria, S.H. (eds.): Pharaohs of the Sun:
Akhnalen, Nefertiti, Tutankhamen, Boston, 1999, p. 235, No 100 (Egyptian
Museum, Berlin, Inv. No 2072). See also Roeder, G.: gyptische
Bronzefiguren, Berlin, 1956, 615b (Louvre, Inv. No E 5449); ibid.:
(Bologna Archaeological Museum, Inv. No 365); Quaegebeur, J.: Apis et la
menat, BSFE, 98, 1983 (Brooklin Museum, Inv. No 73.25), etc.
(fingerings, earrings, pendants), musical instruments
(clappers, sistra, harps), toiletry (mostly mirrors) and even
architectural decoration (of architraves and capitals)28.
But the majority of survived aegides belong to a large group
representing different combinations of menit-necklace
(counterpoise) with aegis. Such objects were first attested
at the time of Tutankhamun29 and became rather popular
in the Ramesside period and later on. These objects are
associated with sacred musical performances, during which
worshippers could use menit necklaces as rattles. There is an
evidence that some of such combinations were used by male
dancers, who put it on a shoulder during liturgical dancing30.
It is not quite clear if these objects produced any sound
during the performance, or if they had a pure symbolic
meaning, but this is exactly the case that is seen on the
Memphite figurine.
Sidelock of Youth. The sidelock of youth added to the wig of
the Memphite woman is traditionally considered to be a sign
of juvenility. It was usually worn by children, being the only
tress on their shaved heads, and was cut off upon reaching
puberty. This symbol became an iconography feature of
child-gods (Horus, Khonsu, Ikhy). The sidelock added to a
round wig was also a sign of the god Iunmutef and high
priests of Ptah at Memphis31 . In the last two instances
the lock emphasized son function of the god32 and the
priests33.
It is significant that in artistic tradition the locks of youth
were mainly male symbols. Representations of girls with
such locks prior the New Kingdom are relatively few. During
the XVIII Dynasty a new fashion occurred the lock of
youth, which was usually braided and had a curved end,
transformed into a strand of plain hairs tied with a band. It
became part of young womens hairdress worn at the same
position as the youthlock and often above a regular wig.
Many princesses, especially of the Amarna period, are shown
with the sidelock or sidetrand. From that time on, wearing
the sidestarnd became a fashion for young females of the
upper class. As was noted by G. Robins this was the way to
express the stage of life somewhere between childhood and
mature adulthood34. The former symbol of juvenility had
transformed into symbol ritual purity and/or marked the
unmarried status of noble daughters.
The lock of youth of the Memphite figurine, like
the fashionable sidestrands, could point to ritual purity of its
owner, and, also as the locks of Iunmutef and high priests of
Ptah, to her noble origin35.
Nudity. The nudity of the Memphite woman is also a subject
of discussion. Starting from the earliest phases of Egyptian
civilization, thousands of figurines that we usually call
28
Ivanov, S.: Aegides in the Cult Practice of Ancient Egypt in XV-IV BC.
Cand. Of Hist. Sc. Thesis (in Russian). Moscow, 2005, p. 3233.
29
Quaegebeur: Apis 1983, p. 1725; Ivanov: Aegis, 2003, p. 334335;
idem.: Aegides in the Cult Practice, 2005, p. 2831.
30
Quaegebeur J., Rammant-Peeters A.: Le pyramidion d'un danseur en
chef de Bastet, Studia Paulo Naser Oblata, II (OLA 13), 1982, p. 183
191.
31
Mller, Ch..: Jugendlocke, L, III, 273274.
32
te Velde, H.: Iunmutef, L, III, 212213.
33
Mller: Jugendlocke, 274.
34
Robbins, G.: Women in Ancient Egypt, London, 1993, p. 185.
35
However cf. Quaegebeur, Rammant-Peeters: Le pyramidion, p. 187,
note 38.
3
concubines or fertility figurines or dolls were
manufactured. Usually roughly made of clay, wood or
faience they were generally devoted to shrines of mother-
goddesses. This practice is associated with folk magical
charms against sterility36.
However, our Memphite statuette does not fit the case. It is
made of an expensive material bronze and features a
skillful workmanship. Also it does not resemble figures of
maidservants, which were never cast in bronze. Most likely
it represents a priestess though representations of nude high-
ranking ladies are rather rare in Egypt. We also know
depictions of naked goddesses Nut, Qudshu, Anat and
Astarta, though all of them with the exception of Nut, were
of Asiatic origin. The cults of the nude goddesses were
strongly associated with fertility, fecundity and sexuality.
Beside sexual connotation nudity could also outline ritual
purity. In the temple of Ramesses III at Medinet Habu there
is one of the very rare representations depicting intimate
relations between the king and his concubine37. Both persons
are represented naked; they only wear headdresses and
sandals. In this scene the nudity, which is so unusual for
Egyptian official art, could only be used to stress the purity
of the represented action. It is quite likely that the nudity of
the Memphite lady as well as her sidelock can be interpreted
in this context.
Floral Crown. No less interesting is the platform atop the
wig of the Memphite figurine. On the chair of the princess
Satamon38 the princess is depicted wearing a crown with
such a platform, which is the base for a bunch of papyrus
blossoms. Similar crowns were worn by the ladies
represented in the tomb of Menna39 and the concubine of
Ramesses III40. In L. Troys opinion, such crowns had
connotations with the goddess Wadjet, and were also
related mythology on uraeusdivine eyedivine daughter41.
Blossoming papyrus was also an important symbol of
protection and regeneration.
Though the above mentioned floral crowns have much
smaller bases and the shape of their platforms is generally
round, it is possible to reconstruct the missing parts of the
Memphite figurines crown with flowers. At least this
seems the most probable reconstruction, and the chips on its
base allow it.
It is also interesting that Satamon and the ladies of
Tuthmosis IV are represented with musical instruments
sistra and menyt-collars. Judging by the titles, these ladies
were associated with xnrt. This is an institution of priestess
that played musical instruments during cult ceremonies.
#nrt generally consisted of female members of royal and
high officials families. It is also known that xnrt included
36
Riefstahl: Doll, 1944, p. 9; Desroches-Noblecourt, Ch.: "Concubines du
mort" et mres de famille au Moyen Empire. propos d'une supplique pour
une naissance, BIFAO, 53, 1953, p. 747; etc.
37
PM II.22, 486487: 30 (e); Epigraphic Survey. The Eastern High Gate.
Medinet Habu, VIII (The University of Chicago Oriental Institute
Publications, vol. 94), Chicago, 1970, pl. 654., fig. 51.
38
Egyptian Museum, Cairo: CG 51113 (Quibell, J.E.: Tomb of Yuaa and
Thuiu. Catalogue Gnral des antiquits gyptiennes du Muse du Caire Nos
5100151191. Cairo, 1908, pl. 40).
39
TT 69: PM I.12, 137:7.
40
See above, ref. 26.
41
Troy, L.: Patterns of Queenship in Ancient Egyptian Myth and History
(Boreas 14), Uppsala, 1986, p. 122.
two groups of priestess parting single and married
women42.
Figure of a Child. The Memphite figurine is represented
carrying a statuette of a child. Due to the small size of the
representation the details of this childs statuette are not
clear, though on some other examples it is possible to
distinguish its rectangular base43. Most likely this figurine
is a votive object, dedicated to a child-god Horus,
Khonsu or Ikhy. Taking into consideration the strong
association of majority objects found in the Mit-Rahina
bronze horde with Theban gods, the most probable
dedicatee of the statuette is Khonsu44.
An artistic parallel to bronze statues discussed in this article
is seen on a relief in the temple of Khonsu in Karnak45. This
scene depicts Nodjemet, the wife of Herihor, and lady
Shesebek, who are worshipping the goddess Mut (fig. 4).
The ladies heads are surmounted with the rectangular
platforms with flowers, typical for the xnrt women. The
titles affirm their association with xnrt, as they are both
called wrt xnrt or Chief Musicians of Amun-Re and
Khonsu, respectively.
Remarkably, the priestesses are carrying babies in their
arms. The appearance of children is partly explained by
another title of Nedjemet, mentioned in this scene, calling
her The Chief Nurse of Mut. Unfortunately it is not quite
clear what functions the nurses of Mut had. These titles
could have a mere symbolical meaning. We only know of a
singer of this goddess Ir-mut-pa-nefer, who was a nurse of
the king Amenemope46. S.-A. Naguib suggested that the
main function of the institution of wet-nurses of Mut was
taking care of the babies dedicated to priesthood at an early
age47 and thus producing a new generation of worshippers.
The other title of Nodjemet, that was also born by five
other royal ladies of the XXI Dynasty, is also worth
mentioning here. She was called The Divine Mother of the
Child Khonsu 48. This is a symbolic title referring to
queens mythological role as Mut, consort of the god and
mother of his child.
Conclusions
To sum up we can assume that the Memphite figurine
represents a lady from an upper-class family. The sidelock
of youth and her nudity may point to ritual purity of the
woman. She entered a xnrt where she played musical
instruments and possibly as indicated by the aegis
performed a ritual dance. Depiction of the child figurine in
her hand may refer to her devotion to the cult of Khonsu,
and, probably, to additional functions of the priestess that
could include fosterage of children in a temple.
42
Troy: Patterns of Queenship, pp. 7779, 86.
43
See above, notes 13, 14.
44
See also Quaegebeur, Rammant-Peeters: Le pyramidion, p. 199,
note 109.
45
PM II.22, 230:17 (II.4); The Temple of Khonsu, I. Scenes of King Herihor
in the Court (The University of Chicago Oriental Institute Publications, vol.
100), Chicago, 1979, pl. 28.
46
Naguib, S.-A.: Le clerg fminin dAmon thbain la 21e dynastie
(OLA 38), 1998, p. 228229.
47
Naguib: Le clerg,1998, p. 224225, 231.
48
Troy: Patterns of Queenship, pp. 74, 89 (B2/41).
4
Fig. 1. Upper part of a figurine of a priestess.
Egyptian Museum, Cairo JE 35107 L

Photo by the Author

5
Fig. 2. Upper part of a figurine of a priestess. Fig. 3. Figurine of a priestess.
Egyptian Museum, Cairo JE 32784 Egyptian Museum, Cairo JE 37967
Photo by the Author Photo by the Author

Fig. 4. Nedjement and Shesebek Worshiping the Goddess Mut.

Relief of the Temple of Khonsu, Karnak
Taken from: The Temple of Khonsu, 1979, pl. 28