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Grab a matchmaking to be happy! My age is. The design of no. Diadem, no. Scale 1 : 2.


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Egyptian signs and symbols nos. Exact Egyptian comparisons for these seals are elusive, but nos. In no.

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These two hieroglyphs combine with others in Egyptian royal names of the Late Old Kingdom and of the Heracleopolitan ixth. The four-lotus design is attested at Mostagedda from the ixth. Concentric circles arranged in various ways are the most popular design on seals from the Montet Jar, and they outnumber the running spirals Group 6 , by nearly five to one. The designs on the smaller pieces are not especially well-planned, but the circles on the larger scarabs and the domed seals are often precisely spaced between parallel lines.

It is this feature which is reminiscent of Cycladic decorative design on pottery and seals. The lines joining the circles in seem to indicate a debasement of the linked spiral design such as 14, yet there can be very little difference, if any, in their dates. Important for chronology are two scarabs similar to nos. It is impossible to explore the origin of the concentric circle as a design in an article, for the subject would need many pages to itself and has already received considerable attention. Mellaart's excavations in Turkey have thrown the history of the concentric or dotted circle back into the seventh millennium with considerable force, establishing it among the first geometric designs exploited by man.

Cruciform patterns nos. Eleven scarabs and one seal-amulet show designs giving a cruciform effect, with balancing elements repeated each side of centre. The scarabs range in length between 13 and 20 mm. The pattern of no. The three-lotus pattern is stylised on no. Round running spirals nos.

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The parallel dividing lines worked. All the spirals of Group 6 have a beginning and an end; in this they differ from the round spirals of the xi-xiith. A rarity of the first kind from Egypt, like no. It is best compared with the spiral on the sealing of a casket from Lisht, bearing the prenomen of Sesostris I 2 , but it is not possible to see on the impression whether or not the spiral is continuous.

Varia nos. There is part of a flower design on the remaining part of the broken scarab no. Nos 77 and 78 are of interest for their relationship to the fret or maze patterns of the button seals and to designs on scarabs from Mostagedda, Matmar and Qau, also divided into two parts 3 ; they may all be early attempts at the production of a linear script.

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Cylinder Seals. Porada, below. Material Most of the seals are made of white steatite which was freely employed for the manufacture of button seals and scarabs from the end of the Old Kingdom onwards.


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  5. 1. Introduction.

    6. There is no known source of this kind of talc or soapstone in the Asiatic Middle East, and it is most likely that the industry relied on supplies from quarries which exist in the eastern desert of Egypt. If samples from them were found to agree with the material of the seals, it would establish the Egyptian origin of the button seals, which have been described as strangers in the land, 1 and dispose of a frequent charge that Syro-Palestinian seals were local copies of Egyptian originals.

    As they are harder stones to cut, carnelian and quartz were seldom used by scarab-makers, and the lightly engraved emblems and designs which ornament them in the First Intermediate Period were omitted to a large extent in Middle Kingdom times. Though amethyst was also obtainable in the eastern desert, it rarely occurs as a material for scarabs in pre- xith. Form The short thick scarabs of Group 1 starting at 8.

    The heads of the beetle are adequate reproductions of the natural form and the division between the wings is nearly always marked. Group 4 introduces the fully 'feathered' leg, and the absence of this feature from the cemeteries just mentioned should be noted. This fine detail is common in the xiith. Designs Like the forms, designs on scarabs and seals of Group 1 find parallels on Egyptian sites of the vii-xith.

    Group 2 with large scrolls almost.

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    Group 3 featuring rudimentary hieroglyphs runs parallel to the situation in Egypt itself, where the first scarabs bear only such simple signs as 'nh and nfr. The scaiabs of Group 4 decorated with concentric circles are rare on Egyptian sites, and the careful workmanship, particularly the lines dividing the hard outer wing-case of the 'beetle', precludes an attribution of these scaiabs to the Second Intermediate phase when they regained popularity.

    The cruciform patterns of Group 5 made up of elements already seen in previous groups succeed in producing balanced designs of some complexity and merit, equal to those for which a derivation from Asia Minor has been proposed. Far more successful is no. That this stage was achieved by the xith. In a collection which otherwise divides readily into six groups, it is only necessary to point out among the exceptions two scarabs in carnelian, divided like some others into an upper and lower register, which may bear attempts at a non-Egyptian linear script.

    The real difficulty in the attempt to reach a closer date for our collection as a whole is the scarcity of contemporary products datable to the reign of Mentuhotpe II, say from the reunification of Egypt, C. With the accession of Kheperkare Sesostris I, scarabs bearing his name surrounded by round and hook spiral borders are common, and his prenomen, sometimes in a cartouche, is found on other objects as well from the Syro-Palestinian. Faience collar necklace. Gold and Electrum. Gold medallion, no. The jewel is built up on a background of two disks, 58 mm.