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Meretseger
Name in hieroglyphs
mr
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O34		 W11
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Major cult centerTheban Necropolis, Deir el-Medina
SymbolCobra snake

Meretseger (also known as Mersegrit[1]' or Mertseger) was a Theban cobra-goddess in ancient Egyptian religion,[2] in charge with guarding and protecting the vast Theban Necropolis — on the west bank of the Nile, in front of Thebes — and especially the heavily guarded Valley of the Kings.[3][4][5] Her cult was typical of the New Kingdom of Egypt (1550–1070 BC).[6]

Role and characteristics

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Meretseger's name means "She Who Loves Silence",[7][8] in reference to the silence of the desert cemetery area she kept[9] or, according to another interpretation, "Beloved of Him Who Makes Silence (Osiris)".[10]

Meretseger was the patron of the artisans and workers of the village of Deir el-Medina, who built and decorated the great royal and noble tombs.[7] Desecrations of rich royal burials were already in progress from the Old Kingdom of Egypt (27th/22nd century BC), sometimes by the workers themselves: the genesis of Meretseger was the spontaneous need to identify a guardian goddess, both dangerous and merciful,[9] of the tombs of sovereigns and aristocrats. Her cult, also present in Esna (near Luxor), reached its peak during the 18th Dynasty. A royal wife of the Middle Kingdom pharaoh Senusret III (c. 1878–1839 BC) was called Meretseger; she was the first to bear the title Great Royal Wife (which became the standard title for chief wives of Pharaohs) and the first whose name was written in a cartouche: however, as there are no contemporary sources relating to the Great Royal Wife Meretseger, this homonym of the goddess is most likely a creation of the New Kingdom.[11]

The goddess Meretseger was worshiped by the workers' guild, who feared her wrath very much. Being a local deity, only small rock temples were dedicated to her (such as the one located on the path leading to the Valley of the Queens) and some stelae with prayers and poignant requests for forgiveness,[4] as well as various cappelletti right at the foot of the hill dedicated to her — which was her embodiment too.[5] She was sometimes associated with Hathor: even the latter was considered a protector of the graves in her funerary aspects of "Lady Of The West" and "Lady Of The Necropolis" who opened the gates of the underworld.[12][13] Her close association with the Valley of the Kings prevented her becoming anything more than a local deity, and when the valley ceased being in use (and Thebes was abandoned as a capital), so she also ceased being worshipped (11th/10th century BC).[6]

El Qurn, the sharp peak overlooking the Valley of the Kings.

Meretseger's hill

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Further information: El Qurn

Meretseger was especially associated with the hill now called el Qurn "The Horn" (Ancient Egyptian: tꜣ-dhnt "The Peak"[4]), a natural peak, the highest point (420 m) in the Theban Hills, which dramatically overlooks the Valley of the Kings.[3][4] It has an almost pyramidal shape when viewed from the entrance to the Valley of the Kings, and therefore some Egyptologists believe it may have been the reason for choosing the location as a royal necropolis. El Qurn, also believed to be one of the entrances to the Duat (underworld),[14] was sacred to both Meretseger and Hathor, but the former was considered its real personification.[5] For this reason, two of Meretseger's many epithets were "Peak of the West" (Dehent-Imentet)[10][9] and "Lady Of The Peak".[15] Many small stelae created by artisans and workers have been found as evidence of devotion to their favorite deities: in addition to Meretseger, Ptah,[16] Amun,[17] Hathor,[18] Thoth[19] and the deified pharaoh Amenhotep I (c. 1525–1504 BC), whose cult was very popular in Deir el-Medina.[20]

Stela of Neferabu

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Black granite statue of Meretsger protecting Pharaoh Amenhotep II (1427–1401 BC).[21]

It was believed that Meretseger punished the workers who committed a sacrilege (by stealing something from the royal graves or the building sites — copper instruments were particularly precious — as well as those who failed in an oath) poisoning them with her bite.[22] But she was also considered generous in forgiving those who repented to her and, in this case, would heal him from physical evil.[22] This is the case of the draftsman Neferabu, who would have been cured of blindness after having begged Meretseger, as he himself was able to attest on a limestone stela (Museo egizio, Turin) dedicated to her:[5]

Giving praise to the Peak of the West, kissing the ground to her ka, I give praise, hear (my) call, I was a truthful man on earth! Made by the servant of the Place-of-Truth, Neferabu, justified. (I was) an ignorant man and foolish, who knew not good from evil, I did the transgression against the Peak, and she taught a lesson to me. I was in her hand by night as by day, I sat on bricks like the woman on labor, I called to the wind, it came not to me, I libated to the Peak of the West, great of strength, and to every god and goddess. Behold, I will say to the great and small, who are in the troop: beware the Peak! For there is a lion within her! The Peak strikes with the stroke of a savage lion, she is after him who offends her! I called upon my Mistress, I found her coming to me as a sweet breeze; she was merciful to me, having made me see her hand. She returned to me appeased, she made my malady forgotten; for the Peak of the West is appeased, if one calls upon her. So says Neferabu, justified. He says: Behold, let hear every ear, that lives upon earth: beware the Peak of the West!

— stela of Neferabu

In relation to the Egyptians with their divinities, the concepts of sin, repentance and forgiveness were very unusual; these characteristics of Meretseger's cult appear to be a unicum.[22]

Rock shrine in Deir el-Medina

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Meretseger's rock shrine in Deir el-Medina was formed by a series of caves placed in a semicircle, whose vaults however collapsed due to earthquakes, and on the outer walls still retains many steles, while a large number of fragments have been inventoried and distributed to various museums. It was also dedicated to the most revered Ptah, god of craftsmen and artisans. Overlying the temple there is a rock with the shape of a snake's head.[22] The large amount of material found confirms that the temple was very popular and famous — locally.

Iconography

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Meretseger was sometimes portrayed as a cobra-headed woman, though this iconography is rather rare:[22] in this case she could hold the was-sceptre[23] as well as having her head surmounted by a feather and being armed with two knives.[15] More commonly, she was depicted as a woman-headed snake or scorpion,[15][24] a cobra-headed sphinx, lion-headed cobra or three-headed (woman, snake and vulture) cobra.[22] On various steles, she wears a modius surmounted by the solar disk and by two feathers, or the hathoric crown (the solar disk between two bovine horns).[15] Her main artistic depictions are inside lavish royal tombs, for example:

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References

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Bibliography

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Meretseger

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Meretseger, meaning "She Who Loves Silence," was a localized cobra goddess in ancient Egyptian religion, revered primarily as the guardian of the Theban necropolis, including the Valley of the Kings, during the New Kingdom (c. 1550–1070 BCE). She embodied the protective and punitive aspects of the desert landscape, dwelling on the peak of the western mountain known as the "Peak of the West" (el-Qurn), which overlooked the tombs and served as an entrance to the underworld (Duat). As patron deity of the artisans and workers at Deir el-Medina, the village where tomb builders resided, Meretseger enforced ma'at (cosmic order) by punishing offenses such as tomb robbing or false oaths with afflictions like blindness or snakebites, yet she was also merciful, healing the penitent through forgiveness. Meretseger's typically depicted her as a coiled , a rearing with a female head, or occasionally a three-headed serpent combining , , and forms, often adorned with a solar disk, horns, and feathers symbolizing her divine authority. These representations appeared on stelae, ostraca, and shrine reliefs dedicated by workers, such as the famous stela of Neferabu in the Egyptian Museum of Turin, where she is shown in her serpent form alongside inscriptions recounting personal encounters of punishment and mercy. Her cult emphasized personal piety over grand temple , with modest rock-cut chapels and natural shrines on el-Qurn receiving offerings of , , and from the community. The significance of Meretseger's worship reflects the intimate relationship between New Kingdom Egyptians and their sacred landscape, highlighting themes of , silence befitting the realm of the dead, and the duality of and in divine protection. Her prominence waned after the New Kingdom as Thebes' political importance declined, though her legacy endures in artifacts illustrating the workers' daily devotion and the cobra's role as a symbol of royal and guardianship.

Name and Etymology

Meaning and Translation

The name Meretseger derives from the ancient Egyptian words mrt-sgr, where mrt means "loving" or "beloved," stemming from the verb mrj "to ," and sgr denotes "" or "quiet." This etymology is attested in hieroglyphic inscriptions from the New Kingdom period, particularly those associated with her cult in western Thebes. The direct translation of mrt-sgr is "She Who Loves ," a title that encapsulates her protective essence over tranquil, isolated spaces. This holds particular significance in the context of her domain, evoking the profound stillness of the and the eternal quietude of the realm of the dead, where disturbances were seen as transgressions against cosmic order. Historical transliterations of the name vary among Egyptologists, with common forms including Mertseger and Meretseger, reflecting uncertainties in reconstructing ancient Egyptian phonetics from consonantal scripts lacking vowels. Scholarly debates center on the precise vocalization of mrt, potentially rendered as meret- or shortened to mert-, and the sibilant sgr, which may have been pronounced with a soft "g" or fricative sound, though no consensus exists due to the script's limitations. These variations appear in academic literature from the early 20th century onward, influenced by evolving methodologies in Egyptological philology.

Alternative Names and Epithets

Meretseger was known by several variant spellings in ancient Egyptian texts and modern transliterations, including Mertseger and Mersegrit, reflecting differences in hieroglyphic interpretation and phonetic rendering. These variations appear in New Kingdom inscriptions from the , where her name emphasized her role in the silent realm of the dead. Among her prominent epithets was "She Who Loves Silence," directly tied to her primary name and evoking the hushed atmosphere of the burial grounds she guarded. Another key title, "Peak of the West" (Dehenet-Imentet), identified her with the pyramidal mountain overlooking , symbolizing her dominion over the western landscape of Thebes. She was also called "She Who Is on Her Mountain," underscoring this topographic association in stelae and prayers from tomb workers. Regional variants in Theban texts occasionally blended her attributes with those of other cobra goddesses, such as aspects of or , though distinct syncretic names like "Meretseger-Hathor" are not attested; instead, she retained her core titles while sharing protective motifs with these figures. Additional epithets included "Raging ," highlighting her fierce punitive side, and "Lady of the Sky," suggesting an elevated, overseeing presence.

Role and Attributes

Protector of the Necropolis

Meretseger, whose name evokes silence befitting the realm of the dead, served as the primary guardian deity of the , particularly the Valley of the Kings, where she protected royal tombs from robbers and desecrators during the New Kingdom (c. 1550–1070 BCE). This period marked a significant expansion in tomb construction under pharaohs like those of the 18th and 19th Dynasties, necessitating divine oversight to ensure the sanctity of these elaborate burial sites amid growing threats from theft and violation. Her protective role extended to the workers involved in these projects, embodying the Egyptians' reverence for maintaining the integrity of the domain. Central to Meretseger's mythology was her dual nature, combining fierce punishment for transgressors with compassionate mercy for the repentant, a balance that underscored her authority over the necropolis's moral order. She inflicted severe afflictions, such as blindness or venomous pain, on those who desecrated tombs or committed offenses against the , as evidenced in accounts of workers struck down for wrongdoing. Yet, this punitive aspect was tempered by her capacity for healing, where she restored health to individuals who expressed genuine remorse, highlighting a rare emphasis on forgiveness in New Kingdom divine interactions. For instance, the craftsman Neferabu, afflicted for , was ultimately pardoned after , illustrating her role as both enforcer and redeemer. This duality reinforced the necropolis's security by deterring violations while allowing for human fallibility within the divine framework.

Associations with Other Deities

Meretseger, embodying the protective cobra form, exhibited strong theological links to fellow serpent deities, particularly , the goddess of harvest and nourishment. In New Kingdom contexts, Meretseger was frequently combined with , with votive offerings and inscriptions associating them through shared protective roles and serpent symbolism, as seen in clay cobra figurines from sites like and dedicated for personal safety and agricultural blessings. Meretseger was also sometimes syncretized with , another protector of the , reflecting overlapping roles in safeguarding the dead. Similarly, Meretseger shared iconographic and functional affinities with , the royal cobra symbolizing Lower Egyptian protection and renewal. Both deities functioned as apotropaic guardians, with Meretseger adapting Wadjet's role to the , punishing transgressors through venomous affliction while offering mercy to the repentant. Artifacts such as clay cobra votives from the New Kingdom often linked them in domestic and military cults, emphasizing their shared dominion over serpentine power against chaos and evil. In the broader Theban pantheon, she occasionally appeared alongside , the chief deity of the local triad, in worker inscriptions and stelae from , reflecting her integration into elite and popular cults where she complemented Amun's cosmic authority with localized necropolis defense.

Worship and Cult Practices

Center at Deir el-Medina

Deir el-Medina served as the primary settlement for the skilled artisans and laborers who built and decorated the royal tombs in the during the New Kingdom, spanning the 18th through 20th Dynasties (c. 1550–1070 BCE). This planned village, located on the west bank of the opposite modern , housed approximately 120 families of tomb workers, whose lives revolved around their sacred duties in the Valley of the Kings. Meretseger, revered as the patron goddess of the , held a central place in the community's religious life, reflecting the workers' dependence on her protection for their hazardous labor. Worship of Meretseger was deeply integrated into the daily routines of Deir el-Medina's inhabitants, with evidence from domestic offering tables and stelae indicating regular rituals to invoke her safeguarding presence. Workers made offerings, such as food and incense, to ensure safe passage through the tomb construction sites and to avert dangers like rockfalls or accidents inherent to their craft. These practices were not isolated events but part of a communal piety that blurred the lines between professional obligations and personal devotion, as seen in inscribed artifacts from household shrines. In the socio-economic fabric of Deir el-Medina, where the community relied on state rations and collective oversight for their tomb-building roles, Meretseger's cult reinforced a strict moral code against violations like tomb theft. Her veneration emphasized for transgressions, fostering social cohesion and ethical standards that deterred pilfering from the sacred royal burials, thereby upholding the workers' privileged status and communal integrity. This religious framework supported the village's insular economy and hierarchical structure, where piety directly intersected with professional accountability.

Shrines and Sacred Sites

Meretseger's primary sacred site was al-Qurn, a pyramid-shaped limestone peak rising to about 420 meters in the Theban Hills, which overlooks the Valley of the Kings and the broader . Known anciently as tꜣ-dhnt ("The Peak") and personified as the goddess herself, this natural formation served as her symbolic dwelling, emphasizing her role in guarding the royal tombs below from threats. The peak's prominent position integrated it into the landscape of Western Thebes, where its geological features, including layers of the Thebes Formation, framed nearby tomb chapels and reinforced its divine associations. In , the village of the tomb workers, rock-cut shrines dedicated to Meretseger dotted the hillsides, often carved into the cliffs for accessibility and seclusion. One notable example comprises a series of caves arranged in a semicircle at the base of al-Qurn, though structural instability from earthquakes has caused many vaults to collapse over time. These shrines typically featured multi-chambered interiors with niches for offerings and walls inscribed with hieroglyphic dedications, including pleas for protection and atonement from the goddess. The informal nature of these structures reflected the local community's direct engagement with the deity, without grand temple complexes. A key example is the Sanctuary of and Meretseger, situated at the southern end of along the ancient mountain path to the Valley of the Queens in the Valley of the Dolmen. This rock-cut complex includes seven small chapels, largely ruined today, each with large stelae erected at the rear for votive purposes; inscriptions bear cartouches of and earlier rulers like Setnakht, alongside invocations to Meretseger, , and other deities. A shallow of Meretseger depicted with a head survives on an eroded wall, highlighting her iconic form. Established in the late 19th Dynasty with expansions in the early 20th, the site was excavated by Ernesto Schiaparelli in 1906 and later repurposed as a Coptic meditation space. Beyond , minor sacred sites to Meretseger appear in Western Thebes, such as small chapels near worker tombs in subsidiary valleys like the Valley of the Dolmen. These modest rock-cut features, integrated into the terrain, facilitated localized veneration by the tomb-building community and linked to paths used for daily processions to royal burial sites.

Prayers and Miracles

Personal devotion to Meretseger often manifested through prayers inscribed on votive stelae, where worshippers from sought her intervention for protection against the perils of the , from afflictions interpreted as divine , and for minor offenses such as or . These supplications emphasized her as "she who loves silence," portraying her as a responsive who could avert harm or restore well-being upon . Common themes in these texts included pleas for , vows of future , and warnings to others about the consequences of wrongdoing, reflecting the intimate, fear-laden relationship between the goddess and the community of tomb workers. One of the most famous attestations of Meretseger's miraculous power is the stela of the draftsman Neferabu, dating to the Nineteenth Dynasty and housed in the Egyptian Museum of (Cat. 1593). In the inscription, Neferabu confesses his "heartless" actions against the goddess, describing how she punished him with blindness—"she made me see darkness by day"—as a lesson in her authority. After enduring great suffering and offering prayers of repentance, he recounts her mercy: "The Peak was merciful to me after she had made me see her power. She made me forget the sickness which was in my heart." This narrative underscores Meretseger's dual attributes of severity and compassion, serving as both a personal testimony and a public to "beware of the Peak." Additional votive inscriptions from document Meretseger's interventions in healing workers from snakebites, scorpion stings, and other illnesses believed to stem from her wrath. These texts, often dedicated after recovery, express gratitude for her restorative favor, such as alleviating pain or venomous effects, and reinforce her role as a protector who could cure as readily as she afflicted. Examples include stelae thanking her for sparing lives during outbreaks of affliction in the harsh desert environment, highlighting the practical reliance on her benevolence amid the dangers of daily labor.

Iconography and Representations

Forms and Symbols

Meretseger's primary form in ancient Egyptian iconography is that of a rearing , known as the , which embodies royal protection and the potential for venomous retribution against threats to the sacred . This serpentine representation draws on the broader symbolism of the as a guardian deity, with its hooded posture signifying vigilance and divine authority. In anthropomorphic depictions, Meretseger appears as a with a head or as a with a woman's head emerging from its coils, blending human and reptilian elements to convey her dual role in and . These forms often include regal attributes such as a solar disk atop the head, symbolizing her connection to solar cycles and renewal, or a pair of bovine horns enclosing the disk, evoking associations with protective deities like . For instance, on certain stelae, she is shown enthroned in a flowing gown, adorned with a headdress and sun disk while holding symbols of life like the and a lotus flower. Some depictions lack eyes, symbolizing her of blindness on offenders. Associated symbols reinforce Meretseger's domain over the Theban landscape and her "She Who Loves Silence." The pyramid-shaped peak of el-Qurn, overlooking the Valley of the Kings, frequently appears as a mountainous motif behind or beneath her, representing the boundary and entrance to the . Offerings depicted alongside her include vessels of , symbolizing nourishment and , and burning , denoting purification and reverence.

Notable Depictions

One prominent example of Meretseger's is the Stela of Neferabu, a votive slab from dating to the 19th Dynasty (c. 1292–1190 BCE), now housed in the in (Cat. 1593). The composition divides the surface into an upper register showing the goddess in her dual aspects—depicted on the left as a rearing and on the right as an anthropomorphic figure with a cobra's head and , both and facing inward toward a central offering table—and a lower register with Neferabu kneeling in adoration, arms raised in supplication. The inscription narrates Neferabu's transgression against the goddess, her punishment of blindness, and subsequent forgiveness, with a key translation reading: "I was a heartless man, who could not tell right from wrong. I went against the Peak (Meretseger) and she taught me a lesson. She darkened my eyes [...] She returned to me, favourable, once she made me forget the sickness in my heart. [...] Behold, let the ears of all who are alive on earth take heed: beware of the Peak." This stela exemplifies Meretseger's protective yet punitive nature through her combined ophidian and humanoid forms, emphasizing her accessibility to personal devotion. Rock shrine reliefs in the cliffs surrounding further illustrate Meretseger's dominance over the landscape, often portraying her in form as a vigilant overseer of worshippers. In the large shelter, a shallow sunk depicts the as a -headed figure emerging from the rock face, positioned above small-scale devotees from the tomb-working community who approach with offerings of and , their postures conveying and awe. Carved primarily during the Ramesside period (19th–20th Dynasties), these s integrate Meretseger's serpentine body with the natural contours of the Theban peak, symbolizing her embodiment of the necropolis's sacred geography and her role in safeguarding the artisans' labors. Erosion has preserved only fragments of these scenes, but they reveal a consistent motif of the coiled or rearing protectively, underscoring her localized among the workers. Votive statues and ostraca recovered from caches in Deir el-Medina tombs and shrines highlight the stylistic development of Meretseger's representations across the New Kingdom, reflecting the artisans' craftsmanship and evolving artistic preferences. An early 19th Dynasty ostracon in the British Museum (EA8508) shows the goddess as a woman-headed cobra, with the devotee Pennub rendered in a stiff, linear profile typical of conservative hieratic conventions, emphasizing ritual formality over naturalism. Later examples, such as sandstone votive statues from worker deposits (e.g., Brooklyn Museum 37.1749E, 18th Dynasty), depict her as a coiled cobra with a detailed female head and projecting arm, featuring smoother contours and subtle modeling of the hood that suggest a trend toward more fluid, expressive forms influenced by the community's skilled stonework. These small-scale artifacts, often inscribed with pleas for protection and found in communal hoards, demonstrate Meretseger's intimate role in the daily piety of the necropolis workforce, with stylistic shifts from rigid symmetry in the 19th Dynasty to enhanced dynamism by the period's end.

References

  1. https://ancientegyptonline.co.uk/meretseger/
  2. https://collezioni.museoegizio.it/en-GB/material/Cat_1593
  3. https://www.behindthename.com/name/meretseger/submitted
  4. https://seshkemet.weebly.com/egyptian-names.html
  5. https://www.facebook.com/PetrieMuseum/posts/random-objects-6-uc14439-top-of-a-stela-showing-meretsegerlast-week-meretseger-w/10158598357805406/
  6. https://worldhistoryedu.com/ancient-egyptian-goddess-meretseger/
  7. https://www.ltrr.arizona.edu/~pcreasman/UAEEfiles/Creasman2013.pdf
  8. https://www.academia.edu/7143907/Magic_and_Religion_in_Ancient_Egypt_Part_I_The_Roots
  9. https://seshkemet.weebly.com/mertsegrit.html
  10. https://livrepository.liverpool.ac.uk/3173992/1/579801.pdf
  11. https://brill.com/downloadpdf/book/edcoll/9789047423140/Bej.9789004158573.i-267_031.pdf?srsltid=AfmBOoo4lIteHa4QCqPgsBKr1P8z_jXsYJ3augvW8XDlk1zkUb6hje7G
  12. https://www.egyptopw.com/rc_images/egyptian_gods_and_goddesses___the_routledge_dictionary.pdf
  13. http://www.joanlansberry.com/setfind/s-power2.pdf
  14. https://fount.aucegypt.edu/etds/2392/
  15. https://scholarworks.uvm.edu/context/hcoltheses/article/1278/viewcontent/Argyros_Thesis.pdf
  16. https://www.academia.edu/24074753/Journal_of_Intercultural_and_Interdisciplinary_Archaeology_N_02_2015
  17. https://www.academia.edu/283214/Playing_With_Fire_Initial_Observations_on_the_Religious_Uses_of_Clay_Cobras_From_Amarna
  18. https://www.academia.edu/73218855/Reviving_Ophidia_Godly_Serpents_in_Ancient_Egyptian_Magic_and_Mythology
  19. https://www.academia.edu/101342170/Striking_Cobra_Spitting_Fire
  20. https://www.academia.edu/33515668/D_Sweeney_Sitting_Happily_with_Amun_in_B_J_J_Haring_O_Kaper_and_R_van_Walsem_eds_The_Workman_s_Progress_Studies_in_the_Village_of_Deir_el_Medina_and_Other_Documents_from_Western_Thebes_in_Honour_of_Rob_Demar%25C3%25A9e_Egyptologische_Uitgaven_24_Leiden_2014_217_231
  21. https://www.academia.edu/57497442/Gods_in_Ancient_Egypt
  22. https://open.library.ubc.ca/media/stream/pdf/52387/1.0398250/2
  23. https://www.nino-leiden.nl/download/5433
  24. https://www.academia.edu/36594107/4_The_religious_context_at_the_village_of_Deir_el_Medina_Iria_SOUTO_CASTRO
  25. https://isac.uchicago.edu/sites/default/files/uploads/shared/docs/Publications/SAC/sac2.pdf
  26. https://egyptsites.wordpress.com/2009/02/10/sanctuary-of-ptah-and-meretseger/
  27. https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/qv_vol1_part2.pdf
  28. https://escholarship.org/content/qt1jc6q155/qt1jc6q155.pdf
  29. https://www.thecollector.com/meretseger/
  30. https://www.metmuseum.org/art/collection/search/546127
  31. https://www.britishmuseum.org/collection/object/Y_EA374
  32. https://egypt-museum.com/amennakht-before-meretseger/
  33. https://deirelmedinaegypt.wixsite.com/home/rock-shrine
  34. https://www.britishmuseum.org/collection/object/Y_EA8508
  35. https://www.brooklynmuseum.org/objects/4178
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