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                <text>A polychromed wooden upper end of a coffin lid. The owner wears the vulture headdress, a circlet, and a blue and yellow striped tripartite wig with lappets ending in a yellow band. Above her forehead is a winged scarab and she wears a broad collar. Below, her two-fisted hands are painted yellow, emerging from within the vestment. Between her hands is a column of text with the offering formula, surmounted by the recumbent form of Anubis holding his insignia. Coffin lids such as these date to the 22nd-25th Dynasties, and are common in and around the Faiyum area of Egypt.&#13;
&#13;
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                <text>Parallels and References:&#13;
Bolton, UK. Bolton Museum and Art Gallery, no. 1892.7.2. &#13;
New Orleans Museum of Art, 1977, no. 9004-06.&#13;
Stockholm, Medelhavsmuseet, NME 1971.005.&#13;
&#13;
Other examples in: &#13;
Taylor, John H. 2009. “Coffins as evidence for a "north-south divide" in the 22nd-25th Dynasties.” In Broekman, G. P. F., R. J. Demarée, and O. E. Kaper (eds), pp. 380-385. The Libyan Period in Egypt. Historical and cultural studies into the 21st-24th Dynasties: proceedings of a conference at Leiden University, 25-27 October 2007. Egyptologische Uitgaven 23. Leuven: Peeters.</text>
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                <text>&lt;h5&gt;&lt;em&gt;&lt;span style="text-decoration:underline;"&gt;&lt;a href="https://digitalprojects.carlos.emory.edu/senusretrights"&gt;Senusret Collection: Usage and Reproduction Rights&lt;/a&gt;&lt;/span&gt;&lt;/em&gt;&lt;/h5&gt;</text>
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                <text>The coffin lid was purchased by Georges Ricard for the Senusret Collection on 2 October 1975 at the Cannes ventes aux enchères:  Collection of M. X. et à divers, lot 134. </text>
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California Institute of World Archaeology (CIWA)&#13;
Michael C. Carlos Museum&#13;
Emory University</text>
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                  <text>This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties.  The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.</text>
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6 cm High x 2.8 cm x 1.9 cm</text>
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                <text>Animals playing musical instruments appear in Egyptian art from the Old Kingdom to the Roman Period. The baboon crouches on his hind quarters and plays a lute, an instrument that was introduced in the New Kingdom. Composed of spotted faience, this figurine likely dates to the Third Intermediate Period or later when workshops of spotted faience operated in the eastern Delta. &#13;
&#13;
A recent interpretation of figurines depicting a baboon playing an instrument suggest they relate to the myth of “The Return of the Faraway Goddess.” In this myth, the feline goddess Bastet was angry at the sun god Re, and left Egypt for Nubia. Re sent the baboon god Thoth to entice Bastet with fables. Musicians and dancers accompanied Bastet back to Egypt, and her arrival brought good fortune to Egypt.&#13;
&#13;
Ex collection Herbert Kitchener, 1st Earl Kitchener, late 19th century- early 20th century.  Georges Ricard purchased the faience baboon for the Senusret Collection on 1 February 1975 from Jean-Francois Mignon, who bought and sold objects privately in Aix-en Provence. He started his career under Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva.</text>
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                <text>Gift of the Georges Ricard Foundation</text>
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                <text>Parallels and References:&#13;
New York, Metropolitan Museum of Art, 44.4.17&#13;
&#13;
Emerit, Sibylle, 2013. Music and Musicians. In Willeke Wendrich (ed.), UCLA Encyclopedia of Egyptology, Los Angeles. </text>
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                <text>&lt;h5&gt;&lt;em&gt;&lt;span style="text-decoration:underline;"&gt;&lt;a href="https://digitalprojects.carlos.emory.edu/senusretrights"&gt;Senusret Collection: Usage and Reproduction Rights&lt;/a&gt;&lt;/span&gt;&lt;/em&gt;&lt;/h5&gt;</text>
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                <text>Ex collection Herbert Kitchener, 1st Earl Kitchener, late 19th century- early 20th century. Ex collection Herbert Kitchener, 1st Earl Kitchener, late 19th century- early 20th century. The faience baboon was sold by Jean-Francois Mignon to Georges Ricard on 1 February 1975.</text>
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                  <text>Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation</text>
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                  <text>Georges Ricard Foundation&#13;
California Institute of World Archaeology (CIWA)&#13;
Michael C. Carlos Museum&#13;
Emory University</text>
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                  <text>This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties.  The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.</text>
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                <text>Schist, stone, gold&#13;
26.7 cm High x 9 cm x 7.6 cm</text>
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                <text>This head depicts the god Amun-Re, wearing the deity’s distinctive crown topped by two tall feathers. A round sun disk rests between the feathers on the modius of the crown. The eyes of the statue are inlaid with white and black stone, which becomes popular in Third Intermediate Period hard stone statuary. Traces of gold remain, which indicates the statue may once been gilded.&#13;
&#13;
The head was once part of a larger unfinished statue of the god with a tall back pillar. The statue remains unfinished as indicated by the original chisel marks on the neck, remaining shoulders, high back pillar and side of the statue. This head of Amun-Re was the first object purchased by Georges Ricard for the Senusret Collection. &#13;
&#13;
The sculpture was purchased by Georges Ricard for the Senusret Collection on 4 March 1972 in Marseille, France at the Ventes aux enchères Hotel du Prado: Collection d’un Amateur, lot number 49.&#13;
&#13;
[See additional images below]</text>
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              <elementText elementTextId="120894">
                <text>&lt;h5&gt;&lt;em&gt;&lt;span style="text-decoration:underline;"&gt;&lt;a href="https://digitalprojects.carlos.emory.edu/senusretrights"&gt;Senusret Collection: Usage and Reproduction Rights&lt;/a&gt;&lt;/span&gt;&lt;/em&gt;&lt;/h5&gt;</text>
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From the 18th Dynasty: New York, Metropolitan Museum of Art, 07.228.35</text>
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                <text>The sculpture was purchased by Georges Ricard for the Senusret Collection on 4 March 1972 at the Ventes aux enchères Hotel du Prado: Collection d’un Amateur, lot number 49. </text>
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California Institute of World Archaeology (CIWA)&#13;
Michael C. Carlos Museum&#13;
Emory University</text>
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                  <text>This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties.  The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.</text>
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37.7 cm High x 7.4 cm x 7.1 cm</text>
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&#13;
The goddess stands with arms at her side and is clothed in a gown to her ankles. The lioness wears bracelets and armlets and a multi-strand broad collar on her chest. Her head is covered by a combination of a tripartite wig and leonine mane. Her eyes were once inlaid. High-waisted torsos and long legs are typical for the Third Intermediate Period, along with finely detailed incision. &#13;
&#13;
The statuette was once part of the Dr. Jacob von Hirsch (1874-1955) collection and sold at the auction, Collection Hirsch: antiquités égyptiennes, grecques et romaines (Paris: Hôtel Drouot, 1921), lot number 33. The statuette was purchased by Georges Ricard for the Senusret Collection 13 October 1974 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. &#13;
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Christie’s New York, Antiquities sale no. 12257, lot 42. Ex collection Omar Pacha Sultan, Cairo</text>
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                <text>The statuette was once part of the Dr. Jacob von Hirsch (1874-1955) collection and sold at the auction, Collection Hirsch: antiquités égyptiennes, grecques et romaines (Paris: Hôtel Drouot, 1921), lot number 33. The statuette was purchased by Georges Ricard for the Senusret Collection 13 October 1974 from Roger F. Galliano, a member of the Conciliation Commission at Central Customs in Paris, certified expert of the Chamber of Auctioneers of France and Judicial Officer of Geneva. </text>
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            <name>Title</name>
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                <text>Rama</text>
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                <text>The eldest son of King Dasharatha and Kausalya. Rama represents the paragon of kingship: rightful heir, master of the bow, temperate, and beloved by his citizens. Many paintings depict Rama with blue skin, indicating his divinity.</text>
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        <src>https://digitalprojects.carlos.emory.edu/files/original/8526627697294f52c37290a08ed7a482.jpg</src>
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                  <text>Michael C. Carlos Museum, Emory University</text>
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                  <text>Tell the Whole Story from Beginning to End: Loan Objects</text>
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            <name>Title</name>
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                <text>Sita</text>
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                <text>The daughter of Janaka, king of Videha, born from a furrow in the earth. Steadfast in her devotion to her husband, Rama, she refuses to abandon him in his exile, and joins him in the forest. She is sometimes understood to be an incarnation of Vishnu’s wife, Lakshmi.</text>
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