Artifact Spotlight–Funerary Cone

Funerary Cone

This original Egyptian Funerary Cone is from Ancient Egypt and once belonged to the Sheik Adb el-Qurna.  It dates back to the 18th Dynasty during the reign of Thutmose III, about 1543-1292 BC.  Inscriptions on the clay cone are written in the Ancient Egyptian language.


Wedges of fired clay were inserted into a layer of soft plaster above doors of Egyptian tombs.  The end of the cones that faced out of the plaster were stamped with inscriptions and painted bright colors.  The flat, circular ends of the wedges created a frieze above the door.  It is theorized that these cones may have had religious significance (Dibley)

This funerary cone was made for a man named Amenemipet. It could have belonged to one of two people with this name.

  1. The first, also known as Pairy, was Vizier and Governor of the town under Amenhotep II of the 18th Dynasty, c. 1425 BC.
  2. The second was an overseer of the city during the late 21st or early 22nd dynasty, c. 950-900 BC.

The cone is registered as No. 297 in Macadam’s Corpus of Inscribed Funerary Cones, Oxford 1957. Because several identical copies of each cone exist, the drawing in the book shows details not clearly visible in our example.

A translation done by Julie Masquelier-Looris reads, “First god’s servant of Amun in (the temple named) Henket-Ankh, Ahmose” (Dibley).


Dibley, Gary, Bron Lipkin, and Julie Masquelier-Loorius. A Compendium of Egyptian Funerary Cones. London: Lipkin, 2009. Print.

Artifact Spotlight–Chinese Printing

Chinese Printing Block

This original Chinese Printing Block dates back to the 19th century and, interestingly enough, is from Korea.  Made out of wood, the printing reads a mourning essay and prose honoring a deceased friend.


Block Printing:

Block printing, before the advent of moveable type, gave society the ability to produce and circulate mass propaganda; however, because of the tireless work of carving, wood blocks were only extensively used for printing concise material as in the case of this printing block—a mourning essay and prose in honor of a deceased friend.

“One of the most important event for the world that took place during the Tang (618-906) dynasty was the invention of printing, sometime between the 4th and 7th century A.D. It began as blocks cut from wood used to print textiles and then used to reproduce short Buddhist religious texts that were carried as charms by believers. Later long scrolls and books were produced, first by wood-block printing and then, beginning in the 11th century, by using movable type. Inexpensive printed books became widely available in China during the Song (960-1279) dynasty” (Lee).

It is widely held that the inspiration for such printing came from the earlier use of clay, bronze, or stone seals (The Invention). Although Johannes Gutenberg is credited with inventing movable type in 1439, it was utilized much earlier, not by the Europeans, but by the Chinese during the Ch’ing-li period (1041-1048). However, even with this invention, the use of movable type was difficult because of Chinese’s complicated alphabet system. In order to use this system of printing, thousands of individual blocks would have been needed. Four hundred years later, Gutenberg’s rendition using German (a relatively simple Romantic language), took off.


“The Invention of Woodblock Printing in the Tang (618–906) and Song (960–1279) Dynasties.” Asian Art Museum. Chong-Moon Lee Center for Asian Art and Culture, n.d. Web. 11 Nov. 2016.

Lee. “Printing.” Silkroad Foundation, 2000. Web. 11 Nov. 2016.

Aciihmnh. “The Art of Chinese Traditional Woodblock Printing.” Heritage Museum. 1995. Web. 11 Nov. 2016.

Artifact Spotlight: Sampler

Cross Stitch Sampler

This original cotton sampler is from the year 1778 and was created by Elizabeth Herbert, a 12-year-old girl.


The first known American sampler is from the year 1645 and was made in the Plymouth Colony by Loara Standish.  In the 1700s, samplers were the standard for young women to learn basic needlework skills.  The late 1700s and early 1800s produced more elaborate samplers with decorative motifs because young women were often attending schools or academies.  These decorative samplers would often be displayed as showpieces or art.

Samplers have recently become important as they are examples of early American female education.   Many are signed by the creator and inscribed with the location, names of their teachers, and the date.  These samplers have inspired a lot of research hoping to understand the lives of women in early America.

Early samplers often depicted the early Latin alphabet.  This alphabet differs from today’s because it did not include the letters ‘J’ and ‘U.’  Instead, the letters ‘I’ and ‘V’ were used.  The letter ‘S’ is also different on many samplers: it is replaced with the Printer’s ‘S,’ which looks a lot like the modern-day ‘f’ (American).

Our Sampler:

Special Collections’ Sampler reads, “Commit not sin but fear the living Lord. Elizabeth Herbert doter of Robert and Elizabeth Herbert. Her sampler markest in the year of our Lord 1778, aged 12 years.”

Additional Information:

A previous blog post was written about this artifact and can be found here.  This post includes more specific information about our particular sampler.


“American Samplers.” National Museum of American History. Smithsonian, n.d. Web. 11 Nov. 2016.

Artifact Spotlight–Whale Bone

Whale Bone Scrimshaw

This original artifact is a unique example of writing on a whale bone.  It was created in 1881 and depicts a sperm whale.



Scrimshaw is a word from the Dutch-English nautical slang that means ‘to waste time.’   The word was first used around 1825 and was generally used for years after that.  It was often used in relation to sailors on whaling trips.  These trips would last for years, and sometimes months would pass in between whale sightings.  After finishing up their duties, sailors would often pass their time scrimshonting, wasting time, or creating scrimshaws.

At the time, raw whale bones and teeth were not considered valuable, so pieces would often be given free to sailors.  Some sailors would carve pictures into the bone, and others would create hairpins, jewelry, or corset clasps.

Scrimshaw has been described as America’s only original art, but recent archeological digs have found similar items from over 6,000 years ago which may have come from the Inuit and other indigenous people (Hopper).  However, the art was most popular among American sailors in the 19th century.

Our Scrimshaw:

Special Collection’s scrimshaw likely came from a sperm whale as the etching illustrates one. The etching demonstrates how to break down a whale. The inscription tells us this scrimshaw was created onboard the Brig Steel Warrior from Newport, RI, 1881.


Hopper, Roger. “The History of Scrimshaw.” Web. 11 Nov. 2016.

“scrimshaw, n.” OED Online. Oxford University Press, September 2016. Web. 11 November 2016.

“The American Neptune: A Quarterly Journal of Maritime History and Arts.” Peabody Essex Museum. Web. 11 Nov. 2016.

Artifact Spotlight–Sarcophagus

Sarcophagus Panel

This original panel from an Egyptian Sarcophagus is from about 1070-714 B.C..  It is made from wood, plaster, and paint.  This artifact is one of Special Collections’ most fragile pieces: although we frequently bring it out for classes, it usually remains in the box and is not allowed to be touched.


The inscriptions on sarcophagi were believed to help the deceased as they journeyed through the afterlife.  They were painted on a thin layer of plaster which covered the cedar skeleton of the coffin.  Because Egypt is a desert, it is believed that the cedar used in this sarcophagus came from Lebanon.

The colors of this panel have faded with time.  The panel was once bright yellow and red.  The crudeness of the illustrations suggest that they were painted by an amateur or an apprentice.

Our Panel:

This particular panel has a common scene from Egyptian religious rites.  Two mummified males are depicted with the traditional red hair ribbons and false beards.  They face the left of the panel, and a woman is depicted kneeling before them.  She is very faded, but we can still see a raised arm, the outline of a face, and dark hair.  The first male figure extends a staff with the ankh (sign of life) on top of it.

In between the two males is the hide of a spotted cow tied to a pole.  This pole, known as the “Anubis Pole,” is signifying the god of embalming.  The far right of the panel depicts the djed pillar, associated with the god of the dead.  A striped cloth banner hangs from the pillar.  This was considered necessary to help human flesh become the spiritual form required in eternity.

Above the heads of the three figures are hieroglyphs.  These are a portion of the standard texts promising a happy afterlife.  The very top has a row of cobra heads and maat feathers, which symbolize the sun’s path through the sky (Goodstein).


Goodstein, Mark. “Collecting Antiques, Fine Art & Decorative Art: Trocadero Online Mall.” N.p., 2016. Web. 07 Oct. 2016.

Artifact Spotlight–Palm Leaf Manuscript

Tamil Palm Leaf Horoscope Manuscript

This original Tamil manuscript from India is estimated to be over 100 years old.   It is written on palm leaves and was purchased for the university in 2004.

Tamil Language:

The Tamil language is a Dravidian language spoken mainly in India, and is the official language of India’s Tamil Nadu state and territory of Puducherry, otherwise known as Pondicherry.  It is also spoken in Sri Lanka, Singapore, Malaysia, Fiji, and South Africa.  The language has been recognized for its ancient origin, independent tradition, and considerable amount of ancient literature.  There are approximately 66 million Tamil speakers in the world today (Krishnamurti).

Processing the Palm Leaf:

Manuscripts such as this one were made from palm leafs.  In order to prepare the leafs to be written on, the ripe leaf would be cut from the tree and dried in the sun until there was no moisture left.  It would then be boiled, and the leaf’s ribs would be removed.  The separated leaves would then be cut and put into bundles according to their size.  A hole would be cut in the end of the bundle, and a cord would be put through the hole to keep the leaves together (Samuel).

Scribes and Preservation:

These manuscripts are not made to last for a long time.  Even when properly cared for, they generally do not last more than 300-400 years.  Most of the palm leaf manuscripts today are copies of the originals, with the original words being copied onto new leaves (Samuel).


Palm leaf manuscripts contain everything from poetry, astrology, art, medicine, folklore, and architecture.  Most of the remaining manuscripts tell of traditional science and folk literature (Samuel).


Krishnamurti, Bhadrirjau. “Tamil Language.” Encyclopedia Britannica Online, 25 July 2011. Web. 28 Nov. 2016.

Samuel, J. G. “Preservation of Palm-leaf Manuscripts in Tamil.” IFLA Journal 20.3 (1994): 294-305. Web. 28 Nov. 2016.

Artifact Spotlight–Royal Storage Jar Handle

Royal Storage Jar Handle

This jar handle is from the age of King Hezekiah of Judah–about 725-698 BC.  It is made of Terracotta and is an original from Hebron, a city of Judah.  It has been a part of our collection since 2011.

jar-handleIn the center of the seal impression is a winged sun disc, the symbol of the Judean king. Above is stamped with the inscription, “Belonging to the King—Hebron.” Below are the letters (right to left) NRBH, indicating it was made for Hebron. More than 500 example of such handles have been found throughout Judah, suggesting that Hebron was a royal administrative and distribution center.


In 701 BC, near the end of the reign of Hezekiah, Judah as attacked by Sennacherib, King of Assyria. In preparation, large jars were filled with wine and olive oil. On Sennacherib’s Prism, a stele cataloging the battle during his campaign on Judah, it is boasted that the Assyrian troops destroyed forty-six of Judah’s cities. The siege on Jerusalem is mentioned, but it is not said to have been destroyed. Biblical accounts in Isaiah, Second Kings, and Chronicles corroborate this. Under siege, the Assyrian troops surrounded Jerusalem’s city walls. In 2 Kings 18, Hezekiah offers tribute to Sennacherib in exchange for Assyrian withdrawal. The Assyrian king agreed and Hezekiah gave him three hundred talents of silver and thirty talents of gold. Hezekiah had to empty the temple and take the gold from the doors and pillars to make such a large bribe. The Assyrian king did not keep his word and continued to lay siege on the city.

In 2 Kings 19, the prophet Isaiah prophesied that Sennacherib would fall and the city of Jerusalem would be safe from destruction. In the night, an angel slayed 185,000 Assyrians, making the city safe once more. Modern historians believe that the Assyrian troops may have been taken by disease, possibly cholera. Others suggest that the siege was so long and supplies were scarce so the troops retreated.

Although Sennacherib did not capture Jerusalem, he did capture Hebron. Over 200,000 Judeans were deported to Mesopotamia to work as slaves.


Malamat, Abraham, and Haim Hillel Ben-Sasson. A History of the Jewish People. Cambridge, MA: Harvard UP, 1976. Print.