Forget Anubis, Horus and Ra, Bes is the bes(t) Egyptian god around! His figure may not land him any jobs striding down our catwalks (he is short and has a large protruding stomach) but his distinctive and playful face won the hearts of Ancient Egyptians and even spread to the Roman empire, Cyprus, Syria and more. Here are 7 reasons why you should love Bes as much as the Egyptians did:

1) He protects your home
Like our modern day ‘live laugh love’ wall stickers, Ancient Egyptian families often decorated their home with images of Bes. His figure is found on a range of household objects including mirrors, cosmetic jars and even the headboard of beds where he’d protect the person sleeping.

Wooden cosmetic-spoon featuring Bes at the British Museum. Museum number EA5954.

2) He loves music and dancing
If you could only have one Egyptian god at your house party, you’d choose Bes. What better party guest than one who can provide great music and dance all night whilst simultaneously protecting the house? You can see figurines of Bes dancing at the current exhibition in the Petrie Museum called ‘Shake, Rattle and Roll: Sounds of Roman Egypt’. He is often depicted playing a tambourine or harp or dancing near other musicians, and some performers even tattooed his image on their bodies.

Dancing Bes alongside seated group of musicians in the Metropolitan Museum of Art. Accession number: 23.6.79.

3) You can wear him on your jewellery
The collection in the Petrie Museum contains many strings of beads with amulets of Bes, such as the blue faience bead of Bes’ head (read more about the bluefaiencein Arendse’s blogpost.). These were probably worn for protection but make for a great statement piece too.

Amulets of Bes in the Petrie Museum with accession numbers UC37498 (top) and UC38008 (bottom). Engager’s own photo.

4) There are vessels made in the shape of his head
It’s impossible to miss the abundance of pottery vessels in the Petrie Museum featuring Bes’ face. They’re so charming and always popular among the visitors at the museum, featuring heavily on the #PetrieMuseumInstagram hashtag.

Pottery vessel with Bes’ face decoration in the Petrie Museum. Accession number: UC8902. Engager’s own photo.

5) He makes you smile…and he’s supposed to!
When ancient Egyptian babies would unexpectedly laugh or smile, many Egyptians believed that Bes was somewhere in the room pulling funny faces. He was a protector of mothers, children and pregnant women, and wall paintings of Bes have been found in rooms that were associated with children or childbirth.

Column Capital in the form of a Bes-image in the Metropolitan Museum of Art. Accession number: 23.2.35. Engager’s own photo.

6) He had a distinctive style
As can be clearly seen on the amulets, Bes often wore a headdress made of feathers. He also was depicted wearing a lion skin cape, although after the New Kingdom he often opted for a leopard skin cape instead (very on trend!). However, the Romans adopted him as a military deity and often depicted him in their legionary costume.

Bes with a tambourine in the Metropolitan Museum of Art. Accession number: 23.6.16

From the ultimate party guest to splashing his face on vases, Bes is the best Ancient Egyptian god. Initially as a protector of the Pharaoh, Bes became the god of the people, looking after their homes and their children. He was a multifaceted god, who was a serious protector and a merry entertainer. In fact, the only temple believed to have been dedicated to Bes was next to a vineyard so he could protect the grapes and oversee the production of wine! Many relics still exist today featuring his distinctive figure. Visit the Petrie Museum where you can find many Bes related artefacts including several vases, amulets and figurines!

For my blog post this week I am starting a new series based loosely on the Plagues of Egypt. The idea came to me while I was working in the Grant Museum and was thinking about possible connections between the Grant and the Petrie Museum of Egyptian Archaeology. For some reason as I was stood next to the insect cabinet, the plague of locusts was the first thing that came to mind.. and conveniently, I have already written a blog post about the 2^nd plague of frogs. Before I launch in I must note briefly that I don’t particularly wish to talk about religion or religious texts. Instead I will use the 10 plagues to discuss some (hopefully) interesting zoological and sociocultural phenomena that link the two museums.

So, what are the 10 Plagues of Egypt?

1. Water turning into blood
2. Frogs
3. Lice
4. Wild animals
5. Diseased livestock
6. Boils
7. Thunderstorms of hail and fire
8. Locusts
9. Darkness for three days
10. Death of the firstborn

The first plague of water turning into blood is an interesting one to start with, but the topic of the two liquids is very pertinent to both collections. Water has an incredibly important role in the ideological and cultural landscape of ancient Egypt. The waters of the Nile were the lifeblood of ancient Egyptian society. It provided vital irrigation for farming, transport through the kingdom, and was linked closely with ideology and religion in Egypt. The Greek Herodotus is recorded as calling Egypt the “gift of the Nile”, implying that Egypt itself was born from the river—this further develops an idea I have discussed in a previous blog post: that the Nile is deeply connected with fertility. With this in mind it is not difficult to see how devastating the idea of water turning into blood would be for Egyptian society.

One papyrus from the twelfth dynasty (c.1991-1803 BCE) interestingly states that the “river is blood“, which has caused some debate over the occurrence of the plagues in Egyptian history. However, the most probable explanation is that during the harsh flooding of the Nile the disturbed red river silt would create this phenomena.

Fig 1: Water ripple hieroglyph (n) (Petrie Museum Catalogue no. UC2145)

Blood as well as water was also symbolically significant to the Ancient Egyptians. Wine was given as “blood of the Gods” during certain religious offerings, something akin to the Christian symbolism of using wine as the blood of Christ, and the deity Shesmu is also linked with blood, being the lord of wine and the “great slaughterer of the gods”.

It is also not difficult to connect the Grant Museum with water and blood as they are both vital components to many living creatures on earth. For this post I wish to focus in on one of my favourite water dwellers in the museum and one that has a deep connection with ancient Egypt. This mammal can certainly displace a lot of water and coincidently produces a fluid over its skin that is often called blood sweat. The hippopotamus, known as a “river horse” by the ancient Greeks secretes a substance called hipposudoric acid. The liquid is red, which gives it its colloquial name, but it is neither sweat nor blood. In fact the secretion is an example of an evolutionary masterpiece—a natural sunscreen! This fluid is very much needed due to their skin being exposed in blistering high UV environments (and being a redhead who works in sub-Saharan Africa- I can fully appreciate this)! As well as the blood sweat creating UV protection it is also a very good antiseptic, which is useful as hippos can be extremely aggressive animals.

Fig 2. Hippo skull in the Grant Museum of Zoology (Catalogue no. Z32)

Sadly, the hippo is no longer found in Egypt but in dynastic times it was a hazard to boat travellers along the Nile and was present in ideological and cultural symbolism.  The deity Taweret was often depicted in the form of a pregnant hippo as she represented fertility (like frogs!). Hippo figurines are also found on ancient Egyptian sites (Fig 3) and hippo tusk ivory was used to make pendants, amulets and sculptural pieces.

Fig 3. Blue glazed faience hippopotamus (Petrie Museum Catalogue No. UC45074)

As you can see, water and blood were and still are incredibly important cultural symbols, most probably due to their inescapable connection to the natural world and to life and death. It really is no wonder that that these themes come up time and time again all over the world.

I hope you have enjoyed my first foray into the Plagues of Egypt as much as I have… I’m quite excited about what direction they might take my research in next!

  by Suzanne Harvey

Excuse me, is that baboon playing a harp?

This is a question that I long to be asked when I’m working at the Petrie Museum of Egyptology. Whilst there are many examples of baboon figurines in the collection, my favourites have always been the selection from Amarna, in which the animals are shown performing acrobatics, drinking beer and playing the harp. Baboons appear throughout Egyptian mythology, and the majority of the figurines at the Petrie and elsewhere depict baboons sitting in a realistic manner, rather than performing any elaborate tricks. These figurines are often found at burial sites. Hapi, an Egyptian God of the underworld, is depicted with the head of a Hamadryas baboon and is said to protect the lungs of the deceased.[1] For this reason, it is common to find the baboon head of Hapi as a lid of canopic jars containing lungs. So, if baboons are typically viewed as sacred animals used in funerary reliquary, why is that baboon playing a harp?

Monkeys of several species were kept as pets in Ancient Egypt, so it is possible that they were trained to perform tricks. Having studied olive baboon infant tantrums, I know from experience that they are athletic animals who are often keen to throw themselves around – but acrobatics seems a stretch, and whilst I’m sure they could be trained to pluck harp strings, I doubt it would be easy listening. Since my own biological and behavioural approach does little but rule out possibilities, there must be another explanation for the existence of these unusual figurines. The Petrie Museum attracts a lot of visitors who are either professional Egyptologists or well-read enthusiasts of the subject. So, in my first ever research engager micro crowd-sourcing exercise, I’ve compiled some of their theories here:

1. The figurines were crafted at a time when the Pharaoh Akhenaten brought in monotheism, demanding that his subjects worship only one God, the Sun God. Therefore, worship of the baboon God was forbidden, and these less serious depictions of baboons may have become fashionable – Suggested by a retired German doctor who researches the beginnings of monotheism in ancient cultures as a hobby.

2. They are part of a culture of fantastical animal stories used for entertainment, and would have been high status decorations in a wealthy household – Suggested by an American Professor of art, interested in representations of animals in Egypt.

3. As baboons, particularly alpha males, could be seen as the reincarnation of dead ancestors in the form of the baboon deity Babi (not to be confused with the baboon-headed deity, Hapi…) the statues may show baboons engaged in activities that dead relatives enjoyed – Suggested by a UCL masters student studying ancient writing.

Any or all of these theories may be relevant, but overall, it seems that perspectives from art, theology and graphology lead to more interesting interpretations of this object than my own biological anthropology approach. For anyone interested in cross-disciplinary or multiple interpretations of museum objects, our upcoming exhibition Foreign Bodies will be on display in UCL’s North Cloisters, with additional featured objects in all 3 of the UCL Museums from March 18th – featuring (amongst others) my favourite baboon harpist.

References:

[1] Hans Kummer: In Quest of the Sacred Baboon. (1995), Chichester: Princeton University Press.