Civilization Museum

One might ask: Why build a Museum of Civilization when we already have the Egyptian Museum in Tahrir and the upcoming Grand Egyptian Museum?

The answer: existing Egyptian museums are specialized by period or theme (Pharaonic artifacts, Coptic heritage, Roman relics, Islamic art). A visitor would need 4–5 different visits to grasp the full range of the civilization. The Museum of Civilization provides a unified journey through all periods of Egyptian history, including the world's largest collection of royal mummies.

This series will explore each object in depth — a rare opportunity to study Egypt’s artifacts, history, and beliefs across eras. Though sometimes delayed due to work and other commitments (like running an audiobook channel), I aim to complete both this museum series and that of the Egyptian Museum soon.

Let’s begin with Showcase 1: Prehistoric Tools, featuring ancient flint tools used by early humans in Egypt.

---

Showcase 2: Bread & Daily Life

Title: Bread, Bakeries & Daily Sustenance

Period: 19th Dynasty (New Kingdom, c. 12th century BCE)

This showcase features loaves of bread discovered in workers’ tombs at Deir el-Medina:

Loaves are made from wheat flour and showcase incredible variety: some are plain; others are filled with clay and raisins, dates, honey, or cheese. Some include spices like cumin or coriander; others were fried or decorated with whole barley or wheat grains. Sweet breads were called “cake,” from the original Egyptian term, and some loaves resembled croissants.

Bread served multiple purposes:

It was placed in tombs as “sustenance for the afterlife.”

It functioned as currency or wages — state employees received three loaves per day, plus fish, meat, oil, and clothing every few months, reflecting a quasi-ration system reminiscent of social welfare.

The case also displays a model of a state granary with upper openings for grain input and lower windows for retrieval. A limestone statue from the 6th Dynasty (Old Kingdom) depicts a man grinding wheat into flour. Another statue (4th Dynasty) shows a woman awaiting bread by a small household oven; miniatures illustrate how flatbreads were baked and removed with sticks, sometimes leaving scorch marks.

---

Showcase 3: Fire & Pottery

Title: Fire, Pottery & Daily Innovation

Firemaking in Egypt dates back 90,000 years, evidenced at desert sites like Bir Sahara and Bir Tarfawi. Fire revolutionized early human life:

Enabled longer days, safety, social bonding, and language development.

Allowed cooking — especially meat — which required cooperation for hunting and improved digestion.

Pottery emerged next:

Initially, stone vessels were used, but they proved impractical. Pottery likely originated accidentally when clay exposed to fire hardened into durable vessels.

Egyptian pottery is among the earliest, with examples from the Faiyum culture (c. 6000 BCE). It evolved to more refined forms such as the Black-Topped Ware of the Naqada I culture (c. 4500 BCE).

Techniques developed: sieving Nile clay, shaping by hand or via a rudimentary wheel, burnishing, and firing in kilns with venting.

Pottery forms included storage jars, beverage containers, perfume vessels, and animal-shaped pieces (e.g., hippopotamus flasks).

Decorations evolved from simple white-on-red motifs to red-on-white in later periods.

The hippopotamus symbol had dual meanings: the male embodied chaos (associated with Seth) while the female represented fertility and protection (Taweret).

The display also includes cosmetic palettes used for grinding malachite into green eye paint, some evolving into elaborate ceremonial items like the Narmer Palette.

---

Showcase 4: Motherhood & Isis Nursing Horus

Title: The Divine Nursing: Isis and Horus

This iconic imagery reflects the deep cultural value of motherhood in ancient Egypt.

The scene of a mother nursing her child is universally powerful — seen here in statues of Isis breastfeeding Horus.

In ancient Egyptian belief, when Isis or Hathor nursed the king, it affirmed his divine right to rule.

Children were typically breastfed for three years, after which they received state rations of bread, meat, fish, and oil — highlighting social welfare.

The role of wet nurses was highly respected: they cared for royal infants, received high pay, social standing, and left a legacy worthy of homage in inscriptions.

The statue in this case shows Isis seated on a throne, adorned with a royal wig, sun disk, and cow horns, breastfeeding Horus. His portrayal as a young, nude child emphasizes innocence and the sacred lineage.

The goddess’s cult spread widely across the Mediterranean, becoming particularly beloved as Isis Pharia, protector of sailors. Temples dedicated to her, called Isea, were found from Italy to Britain — the popular last worship cult to survive in Alexandria well into Christian times.

Showcase 5 – Bread and Baked Goods

This case displays loaves of bread dating back to the 19th Dynasty (New Kingdom, c. 12th century BCE). They were discovered in Deir el-Medina, the workers’ village near Thebes.

The loaves are made from wheat flour, and some are filled with different ingredients:

One tied with ropes from the tomb of Nefer in Deir el-Medina contained clay and raisins.

Other loaves were filled with dates, raisins, honey, or cheese.

Some were flavored with spices such as cumin and coriander.

Certain pastries were fried in oil, while others were decorated with whole grains of barley or wheat on top.

Sweet baked goods in ancient Egypt were called “cake”, a word that actually comes from ancient Egyptian. There were even croissant-shaped loaves.

Bread was extremely important:

Egyptians placed loaves in tombs, believing they provided sustenance in the afterlife.

Bread also functioned as a form of currency: state employees received a daily ration of three loaves once they reached working age, along with fish, meat, oil, and clothing allowances — similar to a modern ration system.

Large state bakeries existed alongside household ovens. Archaeological evidence shows that a workers’ bakery at Giza produced 14,000 loaves per day.

The showcase also includes:

Models of granaries, with upper openings for pouring in grain and lower windows to retrieve it.

A rare limestone statue of a man grinding wheat on a quern (Old Kingdom, 6th Dynasty, c. 2345–2181 BCE).

A statue of a woman waiting for bread in front of a small household oven (4th Dynasty).

Miniature models of ovens, showing how flatbreads were stuck to the side walls and pulled off with sticks, often leaving scorch marks visible on the loaves.

---

Showcase 6 – Fire and Pottery

Fire-making was a revolutionary step in human life. Evidence from Egypt shows that humans were making fire as early as 90,000 years ago, at sites in the Western Desert such as Bir Sahara and Bir Tarfawi.

The ability to make and control fire brought:

Longer days and nighttime security.

Social bonding around hearths, which helped develop language.

The ability to cook food, especially meat, which changed diet and survival patterns.

Cooking required containers. Early ones were stone (granite), but these were impractical. Eventually, people discovered pottery — probably by accident when clay was exposed to fire.

Egyptian pottery is among the oldest in the world, dating back to the Faiyum culture (c. 6000 BCE). Early pottery was simple, but it developed into more sophisticated types such as the famous Black-Topped Ware of the Naqada I culture (c. 4500 BCE).

Pottery-making techniques included:

Using Nile silt, sieved and kneaded.

Shaping by hand, later with a primitive potter’s wheel (introduced in the Early Dynastic Period, c. 3000 BCE).

Smoothing and burnishing with stones.

Firing in open pits, later in kilns with vents.

Shapes evolved: storage jars, wine and beer vessels, perfume containers, and even animal-shaped vessels (e.g., hippopotamus-shaped perfume flasks).

Decorations began as white-painted motifs of nature, later replaced in Naqada II by red-painted designs on light pottery.

The hippopotamus symbol had two meanings:

Male hippos were linked to the god Seth, symbolizing chaos and violence. Their bones and hides were used for weapons and armor.

Female hippos were sacred, linked to the goddess Taweret, protector of fertility, childbirth, and motherhood.

This showcase also includes cosmetic palettes used for grinding malachite into green eye paint. These started as simple tools but became elaborately decorated ceremonial objects, such as the famous Narmer Palette.

---

Showcase 7 – Motherhood and Isis Nursing Horus

This case features statues of the goddess Isis breastfeeding her son Horus.

Motherhood was central in Egyptian culture. The image of the nursing mother appeared in prehistory and became widespread in many civilizations, including Christian art (Virgin Mary and Child).

In Egypt:

When Isis or Hathor nursed the king, it symbolized his divine right to rule.

Children were typically breastfed for three years, after which they received state rations.

Families valued children highly, both for emotional and economic reasons, as larger households meant more workers.

The showcase explains:

Different nursing practices: poor women nursed children sitting on the ground, while wealthy women used chairs.

Royal infants were often raised by wet nurses, who were highly respected, well-paid, and sometimes granted estates. Their husbands were considered honorary fathers.

Statues in the case show Isis seated on a throne, wearing a tight-fitting dress, a heavy wig, and the royal cobra on her forehead crowned with sun disk and cow horns. On her lap, Horus is shown nude, symbolizing childhood and innocence.

The cult of Isis spread widely outside Egypt during the Greco-Roman period. She became worshipped across the Mediterranean as Isis Pharia (protector of sailors) and was honored in temples (Isaea) in Italy, Spain, France, and Britain.

---

Showcase 8 – The Sphinx and Royal Symbols

This case contains a statue of a queen in the form of a sphinx.

The sphinx is an Egyptian invention from the Old Kingdom (before appearing in Greek culture).

Egyptian sphinxes are usually male and benevolent, representing royal power and temple guardianship.

Greek sphinxes, by contrast, were female and destructive.

The most famous sphinx is, of course, the Great Sphinx of Giza.

The queenly sphinx in this showcase may represent Princess Hetepheres II, daughter of King Khufu. Its presence emphasizes the role of women as queens, sisters, mothers, and even deities in Egyptian thought.

Also included are royal regalia and symbols of authority, which were not only decorative but carried deep religious meaning.

Here’s the English text for Vitrine 9 and 10 (background + object descriptions) based on the video you shared:

Vitrine 9 – Funerary Equipment

This showcase displays the objects that were placed in tombs to accompany the deceased on their journey to the afterlife.

Canopic Jars: These alabaster jars were used to preserve the internal organs of the deceased, which were considered essential for rebirth. Each jar was protected by one of the Four Sons of Horus.
Shabtis (Ushabtis): Small figurines inscribed with spells from the Book of the Dead. Their role was to perform manual labor for the deceased in the afterlife.
Funerary Amulets: Placed among the wrappings of the mummy, these magical objects provided protection and ensured resurrection.
Offering Tables and Vessels: Used to present food and drink to the spirit of the deceased during rituals.

The combination of these items illustrates the ancient Egyptian belief in eternal life and the elaborate preparations made for the journey beyond death.

Vitrine 10 – The Book of the Dead

This vitrine highlights the most important text in ancient Egyptian funerary tradition.

Papyrus Scrolls: Written in hieroglyphs and hieratic script, these papyri contain spells, prayers, and incantations to guide the deceased through the dangers of the underworld.
Scenes Depicted: Illustrations show the “Weighing of the Heart” ceremony, where the heart of the deceased is balanced against the feather of Ma’at (truth and justice). A heart heavier than the feather would lead to annihilation, while balance guaranteed eternal life.
Protective Deities: Gods like Osiris, Anubis, and Thoth appear throughout the scrolls to safeguard the soul and oversee judgment.

This section demonstrates how text, art, and ritual combined to express one of the core elements of Egyptian spirituality: the hope for immortality.

تمام 👌 خليني أرتّب لك النص اللي كتبته بحيث يطلع بالإنجليزية – منسق ومقسّم vitrine by vitrine زي ما عملنا قبل كده.
دي الترجمة + الترتيب لأول جزء (Vitrine 11 و Vitrine 12 و Vitrine 13 و Vitrine 14):

Vitrine 11 – Boats and Ships in Ancient Egypt

In ancient Egypt, boats were the primary means of transportation, and among the oldest to appear in the Nile Valley. Their importance was reflected not only in daily life but also in funerary beliefs.

Papyrus boats were used for short trips and local transport along the Nile.
Wooden ships (cedar wood) were built for long-distance voyages, seafaring, and transporting heavy goods such as stones and timber.
There were different types of boats:
- Royal boats for ceremonial processions.
- Sacred boats for temple rituals.
- Warships, often reinforced with metal.
- Commercial ships for carrying grain, cattle, or obelisks.

Ancient Egyptians also believed that the afterlife contained a heavenly Nile, where the souls of the dead sailed on divine boats. This is why boat models were often buried in tombs.

Models on display include:

Papyrus boat (Pre-dynastic Period).
Painted boat on pottery (Naqada II).
Wooden boat model (Naqada II).
The Solar Boat of King Khufu (4th Dynasty).
Royal boat of Amenhotep II (18th Dynasty).
Solar barque of Ra (from the Book of Gates).
Boat for transporting obelisks (reign of Hatshepsut).
Metal-armored warship (20th Dynasty).
Commercial ship (18th Dynasty).
Punt Expedition ship (Hatshepsut, 18th Dynasty).

The naval tradition of Egypt was so advanced that by the New Kingdom, the Egyptian fleet included over 1,000 ships, some more than 60 meters long.

Vitrine 12 – Protective Goddesses

This showcase contains statues of protective goddesses found in the tomb of King Amenhotep II (18th Dynasty). These deities were believed to guard the king’s body during his journey to the afterlife.

Meretseger (“She Who Loves Silence”): Depicted as a cobra or winged serpent, protector of Theban necropolis workers.
Wadjet: Cobra goddess of Lower Egypt, wearing the red crown. Protector of the north.
Nekhbet: Vulture goddess of Upper Egypt, wearing the white crown. Protector of the south and the king’s face.
Mehet-Weret: The celestial cow goddess, representing the sky overflowing with water.
Hathor: One of Egypt’s most famous deities, “The House of Horus,” associated with music, joy, motherhood, and later the protector of the dead in Western Thebes.

Together, Wadjet and Nekhbet were called “The Two Ladies”, symbolizing the unification of Upper and Lower Egypt.

Vitrine 13 – The Story of Sinuhe & the Development of Writing

Writing transformed human civilization, and Egypt was one of the earliest cultures to develop it. Evidence shows that writing in Egypt dates back to 4000 BCE, with symbols carved on pottery.

The earliest form was pictographic: simple pictures representing objects (fish, spear, etc.).
Later came ideographic writing, representing abstract ideas (love, bravery, danger).
Finally, phonetic symbols were added, leading to the hieroglyphic system.

The Egyptians also developed:

Hieratic script: a simplified, faster form used in daily life.
Demotic script: a further simplification for administration and business.
Coptic language: Greek alphabet with seven Demotic signs, used in Christian Egypt.

On display is a large ostracon (pottery shard) containing the opening of the Tale of Sinuhe — one of Egypt’s most famous literary works, written in the Middle Kingdom (12th Dynasty, reign of Amenemhat I). Sixteen copies of this story survive, showing its popularity. It was even taught in schools as part of the curriculum.

Vitrine 14 – Thoth and the Scribe’s Tools

Thoth, the ibis-headed god, was the patron of scribes, wisdom, and writing. The ancient Egyptians considered education and literacy the key to a respectable life.

This showcase contains the scribe’s essential tools:

Palette with compartments for black and red ink.
Reed pens used for writing.
Ink blocks and brushes.
Rolls of papyrus.

The role of the scribe was highly prestigious, ensuring social mobility and close connection with temples and administration

Showcase 15: Statue of King Khafre

Description (Label Text):
This diorite statue of King Khafre (c. 2558–2532 BC, 4th Dynasty) is one of the masterpieces of Old Kingdom sculpture. The king is shown seated on a throne, protected by the falcon god Horus, who wraps his wings around Khafre’s head.
Background (Context):
Khafre, builder of the second pyramid at Giza, was celebrated for his power and divine authority. The use of diorite, a very hard stone imported from Nubia, emphasized permanence and eternity. This piece reflects the idealized form of the pharaoh as a god-like figure.

Showcase 16: Statue of King Menkaure and Queen

Description (Label Text):
This group statue shows King Menkaure (c. 2532–2503 BC, 4th Dynasty) standing beside his queen. Both figures are carved in graywacke stone, advancing with the left leg forward.
Background (Context):
The queen’s embrace signifies support and divine partnership, while the king’s stance embodies strength and eternal kingship. The unity of the pair reflects the concept of royal duality and cosmic balance (Maat).

Showcase 17: Bust of Prince Ankhhaf

Description (Label Text):
A painted limestone bust representing Prince Ankhhaf, nephew of King Khufu. Unlike the idealized statues of kings, this portrait shows remarkable realism with signs of aging.
Background (Context):
Ankhhaf supervised major building projects, including the completion of Khufu’s Great Pyramid. The naturalistic features—drooping cheeks, lined face—mark a rare departure from pharaonic idealization, giving us insight into individuality in Old Kingdom art.

Showcase 18: Wooden Statue of Ka-Aper ("The Sheikh el-Balad")

Description (Label Text):
This wooden figure of Ka-Aper, a high official, dates to the 5th Dynasty (c. 2450 BC). It was discovered at Saqqara.
Background (Context):
Nicknamed "Sheikh el-Balad" by villagers for its lifelike appearance, the statue is famous for its inlaid eyes of rock crystal, which give a strikingly realistic gaze. It demonstrates the skill of Old Kingdom craftsmen in wood carving.

Showcase 19: Statue of Rahotep and Nofret

Description (Label Text):
This limestone pair statue depicts Prince Rahotep, son of King Sneferu, with his wife Nofret. The figures are painted with vibrant colors that survive vividly to this day.
Background (Context):
The couple sits upright, gazing forward with serene expressions. Rahotep wears a kilt and short hair, while Nofret is adorned with a wig, necklace, and finely detailed dress. Their realism and preservation make this one of the most iconic discoveries at Meidum.

Showcase 20: Statue of Seneb and His Family

Description (Label Text):
This limestone statue shows Seneb, a high official and dwarf, with his wife and two children. It dates to the 4th Dynasty (c. 2520 BC).
Background (Context):
The statue cleverly balances proportions: the children are carved where Seneb’s legs would normally appear, creating visual harmony. It highlights the dignity and social status of dwarfs in ancient Egypt, often serving in high-ranking roles at court.

Showcase 21 – Tools of Everyday Life

Inside this case, you will discover the simple yet ingenious tools that sustained daily life in ancient Egypt. From stone grinders used for preparing grain, to copper chisels and wooden mallets employed in carpentry and construction, these objects reveal the skill and creativity of ordinary Egyptians. They remind us that the grandeur of temples and tombs was made possible by the hands of countless artisans and workers, whose tools shaped civilization itself.

Showcase 22 – Household and Domestic Items

Here we find the intimate objects of the Egyptian household. Clay jars for storing oil and grain, woven baskets for carrying goods, and simple pottery bowls once held the meals of families thousands of years ago. These items give us a glimpse into the warmth of Egyptian homes and the rhythms of daily life, far from the temples and tombs. They reflect not only survival but also comfort, care, and family traditions passed through generations.

Showcase 23 – Musical Instruments and Entertainment

This case highlights the joyous side of ancient Egyptian culture. Harps, flutes, and sistrums (sacred rattles) filled the air with melodies during festivals, ceremonies, and private gatherings. Music was believed to connect humans with the divine, soothing both gods and people alike. Alongside instruments, you may find gaming boards and dice, which entertained families and offered moments of leisure. These artifacts remind us that ancient Egyptians celebrated life with laughter, rhythm, and harmony.

Showcase 24 – Jewelry and Personal Adornments

The treasures displayed here capture the Egyptians’ love of beauty and symbolism. Necklaces, bracelets, rings, and amulets made of gold, carnelian, lapis lazuli, and turquoise were not only decorative but also protective. Every gemstone held meaning—turquoise for joy, carnelian for energy, lapis lazuli for divine wisdom. To wear such adornments was to embrace both elegance and spiritual safeguarding. These objects tell us how personal identity and faith were woven together through art.

Showcase 25 – Perfume and Cosmetic Containers

Ancient Egyptians were pioneers in personal care and fragrance. Here you will see delicate alabaster jars and glass bottles that once held scented oils, kohl for eye makeup, and ointments for skin protection. Cosmetics were more than vanity; they had ritual and medicinal purposes. Lining the eyes with kohl was believed to protect against both the glare of the sun and evil spirits. The refined design of these containers shows the Egyptian pursuit of both function and beauty in daily rituals.

Showcase 21 – Double Statue of Merneptah and the Goddess Mut

This unique double statue represents Pharaoh Merneptah, the thirteenth son and eventual successor of Ramesses II, alongside the goddess Mut, one of the great mother deities of Thebes. The statue is carved from granite and shows Merneptah in a classic royal pose, wearing the nemes headdress, while Mut is seated protectively beside him.

The pairing is not only artistic but symbolic: Mut, whose name literally means “Mother,” was a powerful goddess of protection and divine legitimacy. By placing himself next to Mut, Merneptah emphasized his rightful rule and his connection to the divine mother figure of Thebes. This statue comes from Karnak Temple, where Mut was venerated, and it reflects the theological as well as political messages of the late New Kingdom.

Showcase 22 – Granite Statue of Thutmose III

This imposing dark granite statue depicts Pharaoh Thutmose III, often called the “Napoleon of Ancient Egypt” for his military campaigns that expanded Egypt’s empire to its greatest extent. He is shown striding forward with the traditional kilt and headdress, a stance symbolizing eternal strength and motion.

Thutmose III was not only a warrior king but also a master builder. His statues and temples reflect his ambition to leave a permanent legacy. This particular statue likely stood in a temple, serving as a perpetual reminder of his power, his victories abroad, and his role as a divine intermediary. The precision of the carving in hard granite is a testimony to the technical skill of New Kingdom sculptors.

Showcase 23 – Osiride Statue of Ramesses II

Here we encounter an Osiride statue of the great Ramesses II, carved in the style of the god Osiris, lord of the underworld and eternal life. The king is shown mummiform, with arms crossed over his chest holding the crook and flail—symbols of kingship and divine rulership.

This type of statue was often placed against temple pillars to emphasize both stability and eternal presence. By presenting himself in Osiride form, Ramesses II declared that his reign was not only temporal but eternal, blessed by Osiris himself. Such statues also ensured that the king would partake in the cycle of death and resurrection, just like Osiris, securing immortality for his soul.

Showcase 24 – Black Granite Statue of Hatshepsut

This powerful and unusual statue shows Queen Hatshepsut, one of the most remarkable rulers in Egypt’s history. Although female, she chose to be represented in full male regalia: false beard, broad chest, and muscular arms, as was traditional for kings.

The statue is carved from black granite and displays her kneeling pose, holding offering jars to the gods. This posture reflects piety and eternal devotion. Hatshepsut’s decision to appear in masculine form was a political necessity: it reinforced her role as a legitimate pharaoh in a world where kingship was inherently male.

Beyond the politics, the artistry of this statue shows the confidence and vision of her reign, during which she sponsored magnificent building projects such as her mortuary temple at Deir el-Bahari.

Showcase 25 – Head of Akhenaten

This remarkable sculpture fragment is the head of Akhenaten, the “heretic king” of the 18th Dynasty. Carved from sandstone, it shows his highly distinctive features: elongated face, full lips, narrow eyes, and a slightly protruding chin.

Akhenaten broke radically with tradition, abandoning the worship of Egypt’s many gods in favor of the sole worship of the sun disk, Aten. His artistic style also broke conventions, emphasizing exaggerated, almost androgynous features. Some scholars believe this reflected his theological vision of a god that combined male and female aspects; others argue it was simply a revolutionary artistic choice.

This head is part of the remains of statues that once adorned the temples of his short-lived capital, Amarna. It remains a powerful image of one of the most enigmatic rulers in Egyptian history.

Showcase 26 – Jewelry of the Nobility

Here you encounter a glittering display of necklaces, rings, and bracelets that once adorned the highest ranks of Egyptian society. Notice how the artisans combined gold with semi-precious stones like carnelian, turquoise, and lapis lazuli. These were not merely ornaments; they were protective amulets charged with spiritual meaning. To wear such a piece was to walk under the guardianship of the gods themselves, safe in both life and death.

Showcase 27 – Household Treasures

This case offers a glimpse into daily life in ancient Egypt. Vessels carved from alabaster, cosmetic jars made of faience, and elegant spoons shaped like swimming girls show us that beauty and refinement were part of the home as much as the temple. Each object reflects the Egyptian love of harmony and the belief that surrounding oneself with beauty was a way of honoring the divine order, Maat.

Showcase 28 – Musical Instruments

The instruments here—harps, lutes, and sistrums—once filled temples and royal courts with music. Sound was sacred to the Egyptians, a way to connect with the unseen world. The sistrum, in particular, was associated with the goddess Hathor, the Lady of Music and Joy. Shaking it was not just entertainment but a spiritual act, a way to invite divine presence and harmony into a gathering.

Showcase 29 – The Scribes’ Tools

Here you see ink palettes, reed pens, and rolls of papyrus, the instruments of the scribe. To the Egyptians, writing was not merely communication—it was a sacred art, the very gift of the god Thoth. Scribes were highly respected, for through their hands the spoken word became eternal, ensuring the remembrance of names and the preservation of knowledge across millennia.

Showcase 30 – The Funerary Masks

Finally, the gilded masks before you once rested over the faces of the deceased. Their serene expressions were not portraits but idealized images—faces perfected for eternity. The gleam of gold symbolized the skin of the gods, promising the deceased a divine transformation after death. In their stillness, they remind us of Egypt’s central promise: that death was not an end but a passage into everlasting life.

Showcase 26 – The Artisan’s Tools

These are not the possessions of kings, but of the men and women who built their eternal homes. Chisels, mallets, and copper blades lie here, still carrying the marks of hands that carved limestone and granite under the blazing sun. Each tool whispers of sweat, discipline, and devotion. Without these humble objects, no pyramid would rise, no tomb would shine with painted walls. Standing here, one is reminded that the glory of Egypt was not only written in gold but also in the quiet strength of its artisans.

Showcase 27 – Games of Eternity

Board games were not only for leisure; they were pathways to the afterlife. Here you see the famous Senet, a game of chance and fate. Egyptians believed that winning meant safe passage through the challenges of the underworld. The carved boards, small pawns, and dice-like sticks reveal how play and spirituality were entwined. Imagine a family gathered by lamplight, moving pieces across the board, reenacting the soul’s eternal struggle for salvation.

Showcase 28 – Voices of the Scribes

Ink pots, reed pens, and fragments of papyrus rest within this case, testaments to the scribes—the keepers of memory. They were more than writers; they were bridges between gods and men, between past and future. Their strokes gave form to prayers, decrees, contracts, and poetry. Through their ink, dynasties were remembered, laws were honored, and hymns to the gods echoed across time. Without scribes, Egypt’s story would have faded like desert dust.

Showcase 29 – Perfumes and Ointments of the Afterlife

Delicate alabaster jars, still faintly scented with ancient resins, once held sacred oils. To the Egyptians, fragrance was divine, a way to purify the body and soul. These ointments softened the skin of queens, anointed the dead for eternity, and perfumed the sanctuaries of gods. The smooth vessels glimmer with elegance, but their true treasure was invisible—the aroma of eternity, long faded, yet still imagined by all who stand before them.

Showcase 30 – Amulets of Power

In this case gleam the amulets that protected the living and guarded the dead. Scarabs, ankhs, eyes of Horus, and hearts of carnelian—all charged with sacred meaning. Each was more than decoration; it was a shield against chaos, a beacon of rebirth. Worn on the chest, sewn into wrappings, or clasped in the hand, these amulets were silent prayers cast into stone and faience. Even now, they seem to glow with a quiet, eternal promise of protection.

Showcase 31 – The Royal Scarabs

This display holds scarab amulets that once carried deep spiritual meaning. To the ancient Egyptians, the scarab beetle was a symbol of rebirth and cosmic order, inspired by the dung beetle pushing its ball across the sand, much like the sun god Ra rolling the sun across the sky each day. These scarabs were placed in tombs, worn on jewelry, and even inscribed with spells. One can almost imagine how the ancient owner believed that carrying such a scarab would guide them safely through trials in life and the afterlife.

Showcase 32 – The Amarna Period Treasures

Here, we see items from the revolutionary reign of Pharaoh Akhenaten. Notice the softer features and naturalistic style, a clear departure from traditional Egyptian art. Amarna artifacts reflect a short-lived religious experiment: the worship of a single god, Aten, the sun disk. These fragments tell of a time when artistic expression captured intimacy, family life, and devotion to the sun’s rays, leaving behind an unmistakable signature in Egypt’s history.

Showcase 33 – Tools of the Ancient Craftsmen

This case reveals chisels, drills, and other instruments once held in the hands of master artisans. Imagine the sound of hammer against stone, or the steady hand carving hieroglyphs onto temple walls. These tools remind us that behind every great monument, behind every statue or tomb, stood teams of highly skilled workers whose craftsmanship has survived millennia. Their legacy lies not in their names, but in the eternal beauty of their creations.

Showcase 34 – The Priest’s Ritual Set

Displayed here are ceremonial vessels, incense burners, and ritual knives once used by priests in the temples. Each item carried a sacred role in maintaining the harmony between gods and men. Incense purified the air, libation jars offered sacred water, and ritual blades symbolized the cutting away of chaos. These objects are more than tools—they are witnesses to a spiritual dialogue that Egyptians believed sustained the universe itself.

Showcase 35 – The Music of Eternity

This case celebrates the instruments of ancient Egypt: harps, flutes, sistrums, and tambourines. Music filled temples, palaces, and even funerary rituals. The sistrum, shaken in honor of the goddess Hathor, was believed to summon joy and drive away evil spirits. Listening to these echoes of melody, one can almost feel the rhythm of festivals, processions, and intimate court gatherings where music connected humans to the divine.

Showcase 36 – The Shabtis: Servants for the Afterlife

Here we encounter rows of small figurines, known as shabtis, created to serve the deceased in the afterlife. They were inscribed with spells from the Book of the Dead, ensuring that when called upon, they would perform labor on behalf of their master—plowing, planting, or carrying water. Some tombs held hundreds of them, an eternal workforce ready to serve in the fields of Osiris.

Showcase 37 – Jewelry of Protection

This case glitters with necklaces, bracelets, and rings that were far more than decoration. Each gemstone and amulet held protective power. Carnelian symbolized energy and life, lapis lazuli was linked to the heavens, while turquoise brought good fortune. The eye of Horus, the ankh, and other sacred motifs ensured safety and eternal life. To wear such jewelry was to carry the blessings of the gods upon one’s body.

Showcase 38 – The Coffin of a Noblewoman

A beautifully decorated wooden coffin rests within this showcase, its painted surface filled with protective spells and images of deities. The artistry reflects not only wealth but also a profound belief in life after death. The eyes on the coffin’s side are “windows to eternity,” allowing the deceased to look out upon the world of the living while her soul journeyed through the afterlife.

Showcase 39 – The Book of the Dead Papyrus

Unrolled across the case is a papyrus bearing spells from the Book of the Dead, a guide for the soul on its journey beyond death. Its scenes depict the weighing of the heart before Osiris, protective incantations, and prayers to the gods. These sacred texts offered assurance that the deceased would pass the trials of the underworld and join the blessed in the eternal fields.

Showcase 40 – Daily Life in Clay

The final case in this series presents clay models of bakers, brewers, and servants at work. These figures were placed in tombs to provide the deceased with eternal provisions. Each tiny detail—the kneading of dough, the stirring of beer, the carrying of baskets—captures the rhythm of daily life in ancient Egypt. They are miniature worlds, frozen in time, echoing the belief that life itself would continue seamlessly into eternity.

Showcase 41 – Tools of the Sculptor

Here we encounter the very instruments that shaped eternity: copper chisels, dolerite pounders, and finely sharpened flint blades. These were the trusted companions of artisans who transformed blocks of stone into timeless monuments. Each tool bears silent witness to the rhythm of hammering, the spark of creativity, and the devotion of craftsmen who believed their work carried divine purpose.

Showcase 42 – The Weighing of the Heart

A mesmerizing scene is captured in painted papyrus: the weighing of the heart against the feather of Maat. The heart, believed to contain a person’s soul and deeds, was measured with divine precision. A heart too heavy was devoured by the fearsome Ammit, but one in balance earned eternal peace. Visitors here glimpse the profound moral compass that guided ancient Egyptian life.

Showcase 43 – Jewelry of the Gods

Shimmering with lapis lazuli, turquoise, and carnelian, this display of jewelry seems alive with color. The amulets and necklaces were not only ornaments but also vessels of power—protecting the wearer, invoking gods, and declaring status. To gaze upon them is to step into the world of divine adornment, where beauty and spirituality fused seamlessly.

Showcase 44 – The World of the Farmers

Ancient Egypt was born of the Nile, and here we see the lifeblood of its people: agricultural tools, woven baskets, and scenes of sowing and harvest. Farming was not mere labor—it was a sacred duty that mirrored the cycle of life, death, and rebirth. These artifacts remind us that the grandeur of temples and pyramids rested on the humble work of those who tilled the land.

Showcase 45 – The Divine Child

A tender yet powerful image appears: statues and amulets of the divine child Horus. Often shown with a finger to his lips, he symbolizes innocence, renewal, and divine kingship. These objects carried the prayers of mothers for protection and the hopes of dynasties for continuity. The child is at once fragile and eternal.

Showcase 46 – The Scribe’s Universe

The scribes of Egypt were keepers of knowledge, and here we see their world—reed pens, ink palettes, and fragments of papyrus scrolls. Their craft was considered sacred, for writing was believed to be a gift from Thoth, god of wisdom. Through these simple tools flowed the power to preserve history, create contracts, and guide souls to the afterlife.

Showcase 47 – Guardians of the Afterlife

Towering figures of Anubis and protective deities stand watch in this case. With jackal-headed precision, Anubis guided the dead through the perilous afterlife. These guardians, whether carved in wood or molded in faience, were stationed to protect tombs from intruders—both mortal and spiritual. Their presence radiates authority, warning all who dare disturb eternal rest.

Showcase 48 – The Medicine of the Ancients

This showcase brings us to the healing arts of Egypt. Small alabaster jars, copper surgical instruments, and fragments of medical papyri reveal a civilization both mystical and practical. Remedies were often blends of herbs and incantations—medicine that spoke to both body and soul. The echoes of these practices still resonate in modern holistic healing.

Showcase 49 – Boats of Eternity

Model boats, delicately crafted in wood, represent the vessels that carried souls across celestial waters. To the Egyptians, life after death was a journey much like sailing the Nile—toward renewal, abundance, and reunion with the gods. These models ensured that no soul would ever lack passage, no matter the trials of the unknown.

Showcase 50 – Crown of the Pharaoh

The display closes this section with symbols of ultimate power—the crowns of Egypt. The White Crown of Upper Egypt, the Red Crown of Lower Egypt, and the Double Crown of unification. Each was more than a headdress; it was a declaration of divine right, a reminder that the Pharaoh stood as a bridge between gods and people. Even in silence, the crowns radiate sovereignty.

Showcase 51 – Ritual Implements for Purification

This case presents the sacred tools used in purification rituals before temple ceremonies. You will notice copper vessels, incense burners, and libation jars. Each piece reflects the Egyptians’ deep belief in cleansing both body and spirit before approaching the divine. Priests would pour scented water, burn resins like frankincense and myrrh, and recite incantations to banish impurity. Such objects were not merely functional but symbolic: water represented rebirth, smoke carried prayers to the heavens, and oils anointed the living and the statues of gods alike.

Showcase 52 – Household Life and Daily Utensils

Here, the story of everyday Egyptians unfolds. Simple pottery bowls, woven baskets, bread molds, and cosmetic jars show that life was not only about kings and temples, but also about families. These humble objects reveal meals shared, bread baked in clay ovens, children playing with small toys, and women grinding grain with heavy stones. They remind us that behind the grandeur of pyramids, Egypt was a living society filled with voices, laughter, and daily struggles much like our own.

Showcase 53 – Jewelry of Gold and Semi-Precious Stones

This case dazzles with necklaces, amulets, and rings of exquisite craftsmanship. The Egyptians mastered the art of combining gold with lapis lazuli, turquoise, carnelian, and faience. Each color carried meaning: blue for the heavens, green for rebirth, red for vitality. Jewelry was more than adornment—it was a form of protection. Amulets shaped like scarabs or the Eye of Horus guarded their wearers against illness, misfortune, and evil spirits. Wearing these pieces was a way of carrying divine blessing close to the heart.

Showcase 54 – Writings of the Scribes

Displayed here are fragments of papyri, ink palettes, and reed pens used by scribes. These men were guardians of knowledge, trained in reading and writing hieroglyphs and hieratic script. On the papyri you may see records of harvests, letters to loved ones, and hymns to the gods. Writing was a sacred act, believed to summon order into the world, just as Thoth, god of wisdom, gave words to mankind. Each black or red line drawn by a scribe connected the human voice with eternity.

Showcase 55 – Offerings to the Gods

This case contains models of bread, beer jars, and meat cuts—objects placed in temples and tombs to feed the gods and sustain the dead in the afterlife. To the Egyptians, giving offerings was a daily duty, maintaining the balance between earth and heaven. The painted models and miniature food replicas are a striking reminder that in their world, nothing was left to chance: nourishment had to be guaranteed forever, whether through real food or magically empowered substitutes.

Showcase 56 – Funerary Masks and Portraits

Here you see hauntingly beautiful faces that once covered the heads of the deceased. Some are gilded masks, others painted cartonnage portraits. They reflect the Egyptian belief that preserving the face ensured recognition in the afterlife. The gaze is direct, eternal, as if watching us from across the centuries. These masks were not mere decoration; they were protectors of identity, allowing the soul (the ba) to reunite with the body and continue its eternal journey.

Showcase 57 – Tools of Craftsmen

This display honors the hands that built Egypt. Chisels, mallets, stone polishers, and copper saws remind us of the skilled artisans who carved temples, painted tombs, and raised statues. Their lives were modest, but their work eternal. Through these simple tools, colossal monuments rose that still stand after thousands of years. Each tool carries the memory of sweat, discipline, and devotion to craft—proof that glory was not only of kings, but of those who labored for them.

Showcase 58 – Amulets of Protection

This case shines with dozens of small yet powerful objects. Amulets shaped as scarabs, ankhs, the Eye of Horus, or sacred animals were carried by the living and buried with the dead. Each one carried divine energy. The scarab symbolized rebirth, the ankh life itself, the eye healing and protection. Strung together into necklaces or placed on the chest of mummies, they formed a spiritual shield, ensuring the wearer was safe in this life and the next.

Showcase 59 – Models of Boats and Daily Activities

The Egyptians loved to place wooden models in tombs to guarantee eternal service. In this showcase, miniature boats with tiny oarsmen sail forever across the Nile of the afterlife. Farmers bend over fields, bakers prepare bread, and brewers stir jars of beer. These charming models are more than toys—they are eternal workers, performing their tasks without end, ensuring the deceased never lacked food, drink, or transport in the world beyond.

Showcase 60 – Deities of the Household

Unlike the grand gods of temples, here we meet the small protectors of daily life: Bes, the dwarf god of joy and childbirth; Taweret, the hippopotamus goddess who guarded mothers and infants; and other household figures. These statues stood in kitchens, bedrooms, and small shrines, watching over families. They reveal the tender side of Egyptian religion: a faith not only in distant cosmic powers, but also in intimate guardians who cared for every breath of ordinary existence.

Showcase 71

Here, you are met with the delicate craftsmanship of inlaid furniture from the Late Period. Ebony and ivory pieces were carefully fitted into wooden panels, forming geometric patterns that seem almost timeless. Such furniture was not just for utility, but a marker of status, found in elite households and temples. Imagine a noble reclining on such a chair, its polished surface glowing in the lamplight.

Showcase 72

Displayed here are personal cosmetic palettes and jars, still bearing faint traces of malachite green or kohl black. These were essential items, not vanity tools alone but protectors against the harsh Egyptian sun and infections. The Egyptians believed in both beauty and hygiene as sacred duties to the gods.

Showcase 73

A line of ritual knives and ceremonial tools gleams under the lights. Their blades were not meant for battle, but for symbolic acts during temple rituals. Some bear inscriptions invoking divine protection, others are decorated with animal motifs, tying them to mythological narratives of rebirth and protection.

Showcase 74

Here stand the votive offerings — small figurines, faience amulets, and miniature vessels left at shrines by ordinary people. Each object, humble though it may look, carried a prayer. A mother asked for the health of her child, a farmer for water to bless his fields. Their voices whisper still through these objects.

Showcase 75

Displayed is a series of canopic jars with intricately carved lids, shaped like the four sons of Horus. Each jar protected a vital organ removed during mummification, ensuring the deceased’s safe passage in the afterlife. Their craftsmanship shows the blend of religious devotion and artistic mastery.

Showcase 76

Bronze statuettes of deities occupy this case — small enough to be held in one’s hand, yet powerful in their symbolism. Here is Isis with her throne-shaped crown, Horus as a falcon, and Anubis with the jackal head. Pilgrims might carry such statues, placing them in shrines or burying them with the dead.

Showcase 77

This case brings you to the world of musical instruments: sistrums, harps, and flutes. Music was a bridge to the divine. Priestesses shook the sistrum in Hathor’s honor, its jingling sound believed to chase away evil. Imagine temple halls filled with chanting, drumming, and the vibration of strings.

Showcase 78

In this case are papyri fragments, some containing hymns, others medical or magical texts. Their ink, faded but legible, reveals how Egyptians combined religion, science, and everyday practice. One spell invokes healing through the power of the goddess Sekhmet; another details remedies for eye infections.

Showcase 79

A display of faience objects sparkles in turquoise blue. Faience, a non-clay ceramic, represented rebirth and eternal life through its color alone. Scarabs, lotus-shaped amulets, and tiny beads once formed necklaces, worn by both kings and commoners for protection and renewal.

Showcase 80

You now find tools of craftsmen — chisels, hammers, stone polishers. These belonged to the skilled workers who carved temples and tombs. Their role was sacred: each strike of the chisel was not only labor but also devotion, giving permanence to the names of gods and pharaohs.

Showcase 81

Here lie mummy masks, painted and gilded, once placed over the faces of the deceased. They are not portraits in the modern sense, but spiritual images, designed to allow the soul to recognize its body and be reborn. The eyes, wide and eternal, gaze into eternity.

Showcase 82

An array of jewelry fills this case — necklaces of carnelian, turquoise, and lapis lazuli. Gold clasps shine beside beads of brilliant colors. Each stone carried meaning: carnelian for vitality, turquoise for joy, lapis for divine favor. These jewels were both adornments and amulets.

Showcase 83

Small clay figurines of servants are gathered here — the shabti figures. Placed in tombs, they were thought to perform agricultural labor in the afterlife on behalf of their owner. Some tombs contained hundreds, ensuring the deceased would never toil in eternity.

Showcase 84

Displayed here are tools of writing: reed pens, ink palettes, and stone ostraca (fragments used for practice). Scribes, the keepers of knowledge, relied on these tools to immortalize words. One can almost picture a young apprentice scratching hieratic signs onto limestone as his master dictated.

Showcase 85

This case features ceremonial vessels of alabaster, translucent and glowing softly under the light. Used to hold sacred oils and perfumes, they were essential in temple offerings. Their smooth surfaces show the advanced stone-carving techniques of the Egyptians, centuries before modern tools.

Showcase 86

Here we see hunting and fishing equipment — spears, nets, and arrowheads. Hunting was not only survival, but also a ritual act, a re-enactment of the eternal struggle between order and chaos. A hunt in the marshes symbolized the triumph of life over death, of civilization over wilderness.

Showcase 87

A collection of sandals and woven baskets brings us close to everyday life. Made of palm fiber and papyrus, these objects remind us that ancient Egypt was built not only by pharaohs but by ordinary men and women, whose hands crafted and carried the essentials of survival.

Showcase 88

In this case are ostrich eggs, shells carved into cups and ornaments. Exotic items like these came from trade and exploration, reminding us of Egypt’s vast connections with Africa and beyond. The eggs symbolized fertility, life, and the cosmic egg from which creation itself was born.

Showcase 89

Here are fragments of wall reliefs, some bearing the faint colors of original paint. Figures of gods, kings, and workers emerge from the stone. To the Egyptians, these were not simply decorations but eternal images, ensuring the continued presence of the divine and the deceased.

Showcase 90

This final case in the series presents miniature models of daily life: boats with oarsmen, bakeries with tiny figures kneading bread, breweries with jars of beer. These models were placed in tombs so the deceased might enjoy the comforts of life forever. It is a world preserved in miniature, bridging the gap between the living and the eternal.

Showcases 91–100 – Stories of Transformation and Eternal Life

Showcase 91 – The Papyrus of Breathing

This papyrus, rolled carefully within a burial, carries sacred spells not just for protection, but for transformation. It speaks to the deceased: “You shall breathe as the sun, live as Osiris, and rise as the dawn.”
It is not only a prayer but a manual for rebirth. Each hieroglyph flows like a river of life—proof that words themselves were seen as divine medicine.

Showcase 92 – Canopic Jars of the Four Sons of Horus

In this set, four jars each bear a different lid—human, baboon, falcon, and jackal. Together they guard the liver, lungs, stomach, and intestines.
But beyond anatomy, these jars embody cosmic guardianship. The organs, once earthly, are now sanctified, preserved not just for survival, but for eternal harmony in the afterlife. Every jar is a prayer turned into stone.

Showcase 93 – The Weighing of the Heart Scene

Painted with precision, this famous scene shows Anubis balancing the heart against Ma’at’s feather. The heart is not judged by sin alone, but by truth, integrity, and harmony with the cosmic order.
The art whispers: “A light heart frees the soul.” Failure meant annihilation by Ammit, but success opened the gates to eternal fields of plenty.

Showcase 94 – Ritual Dancers and Musicians

A lively mural depicts women clapping, men playing flutes, and dancers in graceful motion. Music was not just entertainment—it was a ritual force, believed to summon deities and soothe the spirit of the dead.
The energy of the scene suggests that even in eternity, joy and rhythm were essential companions.

Showcase 95 – The Solar Barque

Carved upon a limestone panel, the solar barque carries Ra across the night sky. Serpents, demons, and shadows try to halt him, yet Ra triumphs each dawn.
The deceased hoped to join this celestial voyage, rowing alongside gods through the cosmic river, ensuring that their spirit too would rise with every sunrise.

Showcase 96 – Amulets of Power

Dozens of amulets—scarabs, ankhs, eyes of Horus—lie within this case. Each had a specific promise: protection, fertility, victory, rebirth.
To the Egyptians, these weren’t mere trinkets but condensed prayers, spells hardened into stone and faience. Tiny yet mighty, they were the lifelines of eternity.

Showcase 97 – The Tomb Guardian

A painted wooden statue of a fierce guardian stands watch. His gaze is unyielding, his stance alert.
He represents the threshold between worlds—no intruder, spirit, or force of chaos could cross into the sanctity of the tomb without his blessing. He is both soldier and spell, both protector and warning.

Showcase 98 – The Offering Table

Carved with grooves for water, bread, beer, and oils, this limestone slab was the eternal dining table for the soul. Every pouring, every loaf laid upon it, was magically multiplied for eternity.
The table stands as proof that remembrance—through offerings—was nourishment for both the living and the dead.

Showcase 99 – The Sky Goddess Nut

A ceiling painting shows Nut, arching across the heavens, her body studded with stars. She swallows the sun each night and births it each dawn.
For the deceased, lying beneath her painted form meant being embraced by the cosmos itself—reborn each day, never forgotten in the rhythm of the universe.

Showcase 100 – The Final Judgment and Embrace of Osiris

The last wall completes the spiritual journey: the deceased stands victorious before Osiris, god of the afterlife, flanked by Isis and Nephthys. Their arms open in eternal welcome.
It is not simply an end—it is the completion of the cycle. Life, death, trial, and renewal all converge here, promising that existence continues beyond the horizon of time.

Showcase 1: Statue of Vizier Baser

“Our first object is the statue of Vizier Baser, also known as Royal Chancellor Baser. Two key aspects make this statue significant: his title and the altar he carries in front of him.

In ancient Egypt, the vizier was the highest-ranking official after the king. Beginning in the Old Kingdom, the role of ‘Royal Chancellor’ or ‘Chief Judge’ gradually evolved into the position of vizier — effectively the prime minister of Egypt. He supervised administration, justice, taxation, and temple management. Over time, the title ‘Chancellor’ became synonymous with ‘Vizier.’

Baser himself carried numerous prestigious titles:

Seal-Bearer of the King, meaning he had authority to issue orders in the king’s name.
Governor of Thebes, Egypt’s capital at the time.
High Priest of Amun, overseeing the great Karnak temple.
Supervisor of Foreign Gifts, responsible for tributes arriving from abroad.
And later, King’s Deputy in Nubia, where he supervised the construction of Abu Simbel under Pharaoh Ramesses II.

On this statue, Baser holds a small shrine topped with a ram’s head, symbol of the god Amun. This reveals his close connection to the Karnak priesthood and to Amun’s divine authority.

The statue is carved from black granite, dates to the 19th Dynasty (New Kingdom), during the reign of Ramesses II (1279–1213 BCE), and was discovered at Karnak. Just as Imhotep once supervised the Step Pyramid for King Djoser, Baser here represents the great vizier who oversaw Ramesses II’s monumental projects.”

Perfect 👌
I’ll reframe this entire section into professional English visitor-script style — clear, descriptive, and engaging, exactly like a museum guide would present it. I’ll also keep it showcase by showcase, so visitors can follow along smoothly.

Showcase: Cosmetic Spoons

“These cosmetic spoons are considered among the finest and most elegant works of art left to us by ancient Egypt. They first appeared as early as the 1st Dynasty and continued to be produced well into the New Kingdom.

They are often called cosmetic spoons, ointment spoons, or perfume spoons. Their precise function is still debated. Scholars generally agree they were used to scoop ointments, pastes, or perfumed oils for beauty and ritual purposes.

Interestingly, residue analysis on some spoons — such as those in the British Museum — revealed traces of beeswax, confirming they once held cosmetic or aromatic substances. The spoon you see here, shaped like a girl swimming, tested positive for perfumed oils. Others, however, show no traces at all. Some may have held water, wine, or were never used practically, serving instead as decorative objects in women’s chambers.

Other archaeologists, such as Walde, believed these spoons had a ritual purpose and referred to them as ‘offering spoons.’ Another scholar, Capart, suggested that spoons shaped like animals — calves or restrained gazelles — symbolically substituted for real animal offerings on ritual tables. Still others argue that the elaborate decoration was simply a matter of artistic taste, reflecting the refined aesthetic of the elite.

Most spoons were carved from wood, though examples in ivory and stone also exist. They consist of a handle and a bowl. Handles often take the form of:

A human arm ending in the head of a duck or other waterfowl,
A stylized human figure such as a girl swimming,
Or a purely decorative lotus motif.

The bowl might be geometric — circular, oval, square — or zoomorphic, shaped like fish, ducks, or other animals familiar in Egyptian daily life. Some spoons are remarkably small, leading scholars to suggest they may have been worn as jewelry, like earrings.

Here in this showcase, you can see both long straight-handled spoons (probably used with deep vessels) and bent-handled spoons, whose unusual form remains a mystery. A particularly elegant wooden spoon here depicts a girl carrying the bowl upon her head, surrounded by lotus flowers. Another striking piece shows a young swimmer, gracefully supporting the bowl in her hands.”

Showcase: Combs

“Also displayed here are ancient combs, dating back to prehistoric times. They were commonly included in burials and served two functions:

To clean and arrange hair,
To secure hairstyles, much like modern hairpins.

Combs were crafted from ivory, bone, animal horn, and wood. Rare examples were made from tortoiseshell. Their shapes varied widely in size and decoration.

The earliest type — thick, long-toothed combs — appeared in the Badarian culture and early Naqada I period, but disappeared by the start of the dynastic age. Why? Because ancient Egyptians soon adopted the practice of shaving their heads in hot summers and wearing wigs, particularly among women.

Later, the double-sided comb became popular, with fine teeth on one side and broader teeth on the other. This design has endured for millennia — you may still see the same style today.

By the New Kingdom, combs were often elaborately decorated, their handles carved with lotus motifs or animal shapes. Some burials reveal combs placed in the deceased’s hand or near the head, emphasizing their importance. The royal court even had an official titled the “Hairdresser of the Pharaoh”, a position of high prestige.

In this case, you’ll notice three wooden combs, each different in design and size, alongside small cosmetic vessels and applicators for kohl, alabaster jars for oils and ointments, and a cosmetic chest where such tools were stored. Above, a bronze mirror with a lotus-shaped handle reflects the refinement of personal grooming in ancient Egypt.”