Object: Votive replica

C/1953/42/4
Cast Replica, Votive of Snake Goddess
Crete, Palace of Knossos
Minoan
ca. 1750-1580 B.C.E.
Materials: original of faience

This object is a cast replica of a votive found in the excavation of the Palace of Knossos on the island of Crete in 1903. The leader of the excavation was Sir Arthur Evans. The original statue was found in an area of the palace named the Temple Repositories. Evans named the figure in this votive the Snake Goddess because of the repeated theme of snakes throughout the palace compound. For the Minoans, snakes were honored for their ability to shed their skins and resurrect themselves. This votive was found with another statue of a woman with snakes, and the two are thought to be a pair. However, the two objects have definite distinctions between them.

The original votive shows the woman with a full bell skirt, short apron, tight shirt exposing the chest, and arms raised above her head. The other statue shows a woman in a similar shaped skirt and tight shirt but her arms are raised out in front of her instead over her head. Some scholars still debate, which representation of the woman is the snake goddess and which is the snake princess.

As a method of understanding the Minoan culture, objects such as this one have been helpful, since scholars do not have a complete written record for the Minoans. Current research indicates that literacy was not widespread in Minoan culture and may have been strictly confined to the palaces. Additionally, most of the evidence of Minoan writing (Linear A) is found only on seals. Many think that because the figure of the Snake Goddess is prevalent in the palace artwork then they may have been a matriarchal society and worshiped primarily female deities. This has been used as evidence that Minoan society focused on fertility instead of warfare, and has given Minoan culture a much more peaceful reputation than their mainland counterparts, the Myceneans.

Presently, the original votive is located in the Heraklion Museum, but replicas like this help visitors all over the world see what Minoan artwork was like.

[Brittany Teel]

Object: Amulet

C/1987/7/16
Amulet
Egypt
Date unknown
Materials: faience

The museum’s catalog identifies this amulet as depicting the Egyptian god Anubis. In Egyptian mythology Anubis plays a crucial role as guide and protector of the deceased.

However, after examining the piece I feel that this amulet does not depict Anubis. Anubis, when shown in his half human form, has the head of a jackal while this amulet shows the head of a lion. Additionally, this figure is shown wearing a special type of crown called the atef crown. This type of crown is typically associated with the god Osiris and symbolized the priesthood and divine power. The atef crown resembles the white crown of Upper Egypt which has been decorated with two vertical rows of ostrich feathers. It seems more likely that this amulet depicts the god Maahes, rather than Anubis.

Maahes (also known as Mahes, Mihos, Miysis, or Mysis) was a male deity most commonly associated with fighting, war, and violence. Some myths describe him as a protector or guardian of Ra, the god of the sun disk. In this role he would protect Ra from Apep, the god of darkness while he traveled through the underworld during the night. In times of war, Maahes was also thought to be the protector of the pharaoh. Other myths describe him as an executioner, a protector of the innocent, a guardian of sacred places, or as one who could find “truth.” He also shared many characteristics with other lion headed deities such as Nefertem and Shesmu. It is likely that an amulet of Maahes was thought to protect the wearer from evil and ensure their safe passage in the underworld.

An example of a faience amulet depicting the god Anubis can be found at the Metropolitan Museum of Art. [Kate Barr]

Object: Amulet

C/1987/7/17
Amulet
Egypt
Date unknown
Materials: faience

Amulets were used by ancient Egyptians as good luck charms and offered protection from evil forces. Amulets could be worn as jewelry or carried by the living. Amulets were also often inserted in the wrappings of mummies to protect the deceased. During the 19th century this practice of inserting amulets within the wrappings helped to encourage the seemingly bizarre practice of “mummy unwrapping parties.” Mummies were collected by travelers and shipped back to Europe and the Americas where the new “owner” would host an event featuring the unwrapping and destruction of the mummy. During the course of the event many of these amulets could be discovered and kept as souvenirs. Many mummies were destroyed in this way.

This amulet is made of green Egyptian faience. While faience can be produced in different colors, many pieces of Egyptian faience are blue, a very powerful color to ancient Egyptians. The color blue symbolized the Nile, which was a source life and rebirth. Blue faience also provided a more reasonably priced alternative to the semi-precious stone, lapis lazuli.

The museum’s catalog identifies this amulet as depicting a lotus blossom, however, upon examination of the piece I believe this to be incorrect. Instead, I believe this is a “heart amulet.” Ancient Egyptians believed that the heart, rather than the brain, was the source of human intelligence, emotion, and the conscience. When mummifying a body all of the other internal organs were removed from the body and stored in special jars in the tomb. Even the brain, which today is seen as the source of human thought, was removed from the body through the nose. However, the heart was kept in the body so that the deceased would have it at judgment in the afterlife. Heart amulets were placed within the mummy’s wrappings near the chest of the deceased so that if his/her real heart was damaged or destroyed the amulet could take its place.

Other examples of heart amulets can be found in the Egyptian Museum of Cairo, and the Governorate of Alexandria. [Kate Barr]