been some organic material that decayed and left no traces. Brunton suggested that this box was for a wig.
The unique piece among the princess’s items of jewelry was her crown (Fig. 25).66 It is a golden circlet decorated with a uraeus at the front and with fifteen rosettes all around. It has an diameter of 19 cm. The band of the circlet is 2.7 cm wide and about 0.4 cm thick. The uraeus is of gold with inlays of lapis lazuli (a semiprecious stone imported from Afghanistan), carnelian, and glazed material that had disintegrated to white powder when found. Attached to the circlet were golden “plumes.” Under the crown were found 1,251 small golden tubes. These were originally most likely part of the king’s daughter’s wig or hair cover. Similar crowns are known from depictions in the tomb of the local governor Ukh-hotep IV at Meir.67 In one scene, several musicians are represented in front of the tomb owner. They are each wearing a similar crown, but slightly simpler, with just one plume shown at the back of a circlet and going up. They are shown at a religious festival, most likely in honor of Hathor, who was the main deity of Qis68 (Meir was the cemetery of Qis). The interpretation of the plume is disputed. Staehlin regards it as the symbol of Ukh, who was an important deity and symbol at Meir, which is written with a symbol similar to the plume of the crown.69 The Ukh symbol was also closely related to Hathor.70
25. The crown of Sathathoriunet. From Brunton 1920, pl. V.
Another fine piece of jewelry found in the tomb is the pectoral with the throne name of Senusret II as the central element (Fig. 26).71 Inlaid with carnelian, lapis lazuli, and turquoise, it is a masterpiece of ancient Egyptian gold work. The piece is a work of inlays set in a golden frame in cloisonné work, a technique whereby a gold foil outline shape is fixed to a metal base, forming cells that are filled with glaze or semiprecious stones.72 In ancient Egypt, the technique reached its peak in the Middle Kingdom with these pectorals. The center is formed of the hieroglyphics for the throne name of Senusret II: Khakheperre. On either side is a Horus falcon with a sun disk on its head. Each falcon has one leg resting upon a shen ring, while the other leg is raised to the sign meaning “million years” in the middle of the composition under the cartouche. This sign consists of a man sitting on the ground and holding in each raised hand a palm rib, the sign for “year.” Furthermore, from the right arm of the sitting figure hangs a tadpole, which is the hieroglyphic sign for one hundred thousand. On each of the heads of the falcons is a sun disk with a uraeus cobra. From the body of the cobra hangs an ankh sign, the symbol for “life.” Altogether, the pectoral can be read as: “The sun god is granting millions and hundreds of thousands of years of life and duration for King Khakheperre.” The back of the piece, though not visible when worn, shows the details of the composition engraved into the gold and is again of the highest quality.
26. Pectoral of Sathathoriunet with the throne name of Senusret II. The picture shows the pectoral in the condition in which it was found. Detail from Petrie Museum archive, PMAN 1820.
27. Second pectoral of Sathathoriunet with the throne name of Amenemhat III. From Brunton 1920, pl. VIIC.
A second pectoral73 is an almost identical copy of the first one, but with the throne name of Amenemhat III: Nimaatre (Fig. 27). It is again made of gold, with inlays in carnelian, lapis lazuli, green faience, and amethyst. Although the craftsmanship of this piece is still high, it has been noted that one generation after the first pectoral a certain decline is detectable. Semiprecious stones are replaced by glazed materials, and the falcons look slightly clumsy in comparison to those on the first pectoral.74 Both pectorals were part of a necklace consisting of drop-shaped beads and simple ball-shaped ones, or at least these beads were found close to the pectorals.
28. Motto pendants. Petrie Museum archive, PMAN 1802.
These pectorals with their strings of beads are the only necklaces found in the treasure. All the other jewelry was for the arms, hands, fingers, and waist. Five motto clasps should be mentioned (Fig. 28). The function of the five mottoes is somewhat enigmatic. These are basically hieroglyphic signs making up short sayings (mottoes) executed as fine jewelry in gold with inlays in semiprecious stones. Two of them show a shen ring.75 A third is composed of the hieroglyphs aw and ib, meaning “joy.” The fourth shows two sa signs (“protection”), an ankh sign (“life”), and a neb sign (“all”), together reading “All life and protection.”76 The last one has the ib sign in the center (“heart”), two netjer signs (“god”), and the hetep sign (“satisfied”) at the base.77 This group reads: “The hearts of the two gods are satisfied.” These motto clasps are quite small, the largest being just 2 cm high. On the back of each are two tubes, evidently for holding the mottoes on a string. No beads that might have belonged with these mottoes were found, however; they might have been strung on some kind of organic material and perished in the damp burial environment. Two rings adorned with a scarab were also found. Rings are not so common in the Middle Kingdom and are most often just a piece of wire with a scarab. Proper rings appear only later. One of the rings found here is remarkable for the finely crafted scarab made of gold, lapis, and carnelian. The back shows a stripe pattern in blue and is in cloisonné work.78 One scarab was found without ring and is made of lapis lazuli. It bears the throne name of Amenmehat III.79
29. Armlets of Sathathoriunet with the throne name of Amenemhat III. From Winlock 1934, pl. X.
30. Lion amulets perhaps once used in armlets, modern reconstruction. Drawing by Paul Whelan.
The princess had two armlets and two anklets (Fig. 29). The armlets were made of beads with several bars holding them in place and a centerpiece serving as the clasp with the titles and the throne name of Amenemhat III: “The good god, lord of the two lands, Nimaatre, may he live forever.” The pieces are again composed of inlays set into a golden frame in cloisonné work.80 Most of the examples for this technique were found in the burials of high-status women discussed here. This indicates that the technique was perhaps restricted to a small number of workshops or was at least quite expensive, so that only people at the royal court were able to afford it.
31. Bird claw, most likely a pendant from an anklet. Detail from Petrie Museum archive, PMAN 1820.
32. Girdle with cowry shells of Sathathoriunet. From Winlock 1934, pl. VIII.
33. Elements of two girdles united for photographing. The photo was taken shortly after the excavation. Petrie Museum archive, PMAN 1801.
Almost identical armlets were found in the treasure of Mereret in Dahshur. The armlet itself
