Scarabs — A Reader’s Guide
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Scarabs — A Reader’s Guide can be approached with a clearer sense of reading commitment from its source measurements: 45,062 words, 3 hr 16 min estimated reading time, and 61 detected text sections.
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inisters, on the appointment of a high government official, was indeed usual, is proved by several inscriptions: at the time of the middle of the Eighteenth Dynasty, Amenhetep III (1450 B.C.) places “the two lands” in the “hands” of the Vezîr Ptahmes, and “the signet rings of the Horus” (_i.e._, the Sovereign) upon his fingers.[30] In a scene in the tomb of Hûy at Thebes, which is here (Pl. II) published for the first time, the Chancellor of King Tutânkhamen, 1350 B.C., presents the gold signet ring of the office of Royal Son (_i.e._, Viceroy) of Ethiopia “to the Prince Hûy, in order that the office of the Royal Son of Ethiopia may be made to flourish.”
5. THE OFFICIALS CONCERNED IN ITS USE.
As the seal was put to such varied and important uses in Ancient Egypt, it is no wonder that many officials of the Government were concerned in its employment. There were [Egyptian **] _khetemtiu_,[31] “sealers” (singular [Egyptian **] _khetemu_, “a sealer”), attached to almost every department of the public service,[32] as well as to all the religious institutions of the country; and even wealthy noblemen[33] usually had one or more of these “sealers” in their household, whose duty it was to give out from the _khetemu_, “sealed rooms” or “store rooms,” the provisions and other private property required by the great man or by his household. So important was it that the process of sealing jars, boxes, and doors should be done properly, that [Egyptian **] _seḥez_,[34] “instructors,” in the art were employed.
A scene in a tomb at Sakkara[35] shows one of these officials carrying a pail of mud with a ladle in it, going to instruct his pupils. These “sealers” formed a regularly organized body, and served under a [Egyptian **] _mer_ or “superintendent.”[36]
The reader’s attention has already been drawn to the fact that the monarch was invested at his coronation with a Royal Signet, upon which his name and titles were engraved. In the earlier periods of Egyptian history this Royal Signet was, doubtless, either worn by the monarch himself or carried in some secure way about his person. We do not read in the inscriptions of the earliest dynasties of any “Keeper of the Royal Seal,” as we find so frequently alluded to in the hieroglyphic texts from the Middle Kingdom onwards, and it would consequently appear as if the king himself in those early times attended to the business connected with his Treasury Department.
Two important officials of the oldest period, however, were closely concerned with the use of the seal, and their titles were derived from its name. One of these was the “Sealer of the Honey [jars]”; the other was the “Divine Sealer,” “Sealer of the God.” The first title[37] [Egyptian **] “the Sealer of the Honey [jars],” was, perhaps, the oldest of the many hundreds of titles that we find at all periods of Egyptian history, and from the Third Dynasty onwards there was probably not a man of less than royal rank who would not have been proud to bear it. It originally meant, as we have said, “the Sealer of the Honey [jars]” honey being the greatest of all primitive luxuries, and its use reserved for the king’s table. This title must therefore be regarded as a relic of the most extreme antiquity, and it certainly goes back to the time before the use of wine in the Nile Valley. At the beginning of the Fourth Dynasty (_circa_ 3000 B.C.), however, its meaning had probably become already obsolete, and from that period onwards it meant nothing more than a “Royal Sealer,”[38] or one entitled to use a seal with the monarch’s name engraven upon it. Doubtless there were several of these officers employed in the royal palaces to look after the security of the king’s private property, and it was the duty of some of them to accompany the sovereign on his various military expeditions.[39]
Percy E. Newberry’s Scarabs is organized as a chronological and typological survey, beginning with pre-dynastic cylinder seals and progressing through dynastic scarabs to signet rings. The work’s structure reflects a deliberate movement from earlier, simpler forms to later, more complex ones, with each chapter building on the last. Newberry’s method is evident in the plates: Plate III shows pre-dynastic cylinder seals with primitive hieroglyphs, while Plate IV presents impressions from the First Dynasty, including the Horus-name of Menes. This sequential arrangement allows readers to trace the evolution of seal design and iconography across periods.
From Cylinders to Scarabs
Newberry opens with cylinder seals, the earliest form of Egyptian seal, and devotes several plates to them before introducing scarabs proper. Plate III, for instance, depicts black steatite cylinders bearing personal names in primitive hieroglyphs, each name determined by a seated figure. The author then moves to scarabs, which he treats as a later development. This progression is not merely chronological but also functional: cylinder seals were rolled across clay, while scarabs were stamped. Newberry’s emphasis on the material—steatite, wood, ivory—and on the inscriptions’ evolution from uncertain symbols to royal names underscores a structural shift from generic to specific identification.
Recurring Animal Imagery
Across the plates, certain animals recur with notable frequency. Lions appear as emblems of royal power, as on the ring of Hor-em-heb, where a marching lion is paired with the phrase “Neb Khepsh” (Lord of Valiance). Scorpions and crocodiles also appear, often on the sides of bezels, as in the same ring. These creatures are not merely decorative; they carry symbolic weight, linking the seal’s owner to divine or royal attributes. Newberry’s descriptions highlight how such imagery persists from pre-dynastic times—Plate IV includes birds, gazelles, and traps—into later dynastic periods, suggesting a continuity of iconographic tradition.
Movement Between Scenes
Newberry’s narrative moves fluidly between archaeological evidence and artistic representation. Plate II, for example, depicts a scene from the tomb of Hûŷ at Thebes, showing the investiture of a governor with an official seal. The author describes the ring and bezel as colored yellow to represent gold, linking the painted image to actual artifacts. This interplay between two-dimensional art and three-dimensional objects is a recurring structural device: Newberry frequently juxtaposes tomb paintings with physical seals, allowing readers to see how seals were used in ritual and administrative contexts. The movement from plate to plate thus mirrors the movement from depiction to object.
The Weight of Detail
Newberry’s attention to physical specifics—weights, materials, dimensions—grounds his study in tangible evidence. He notes that the ring of Hor-em-heb weighs 125.50 grains and is made of solid gold, with a bezel pierced longitudinally and secured by gold wire. Such details recur throughout the text, from the “beautifully cut ivory cylinder-seal” of Plate III to the “black steatite” of earlier examples. This precision serves a dual purpose: it authenticates the objects and provides a basis for comparison. By cataloging these attributes, Newberry enables readers to distinguish genuine artifacts from contemporary forgeries, a concern he explicitly addresses in his preface.
Readers approaching Scarabs will benefit from moving sequentially through the plates, noting how Newberry’s arrangement traces a developmental arc. Pay attention to the recurring motifs—lions, scorpions, hieroglyphic formulas—and to the way the author shifts between tomb paintings and physical seals. The work is best used as a reference, but its structure rewards a linear reading that reveals the logic behind Egyptian seal design.
There’s something tender about watching patterns persist across centuries—lions and scorpions carved into tiny stones, unchanged in their intent. It reminded me of how Harrow: A Sketch Book — Text and Context lingers on small, repeated gestures in place, the quiet weight of familiarity. Both feel less like studies, more like someone patiently showing you what they noticed, and letting it stay with you.
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