[120]. Among the jewellry discovered by M. de Morgan at Dahshûr (temp. Usertsen II) was an exquisite gold ring (certainly not of Egyptian manufacture), with two spirals worked on its bezel in gold wire-work. (See De Morgan, Dahchour, I, p. 68, fig. 145.) In the Ashmolean Museum is a black ware vase from Egypt of the style characteristic of the late Twelfth Dynasty deposits, which has a punctuated returning spiral ornament round the upper part of its body.
[121]. A. J. Evans, Primitive Pictographs, in Journal of Hellenic Studies, Vol. XIV, p. 328. Cf. G. Coffey, The Origins of Prehistoric Ornament in Ireland, in Journal of the Royal Society of Antiquaries of Ireland, 1894, 1895; and A. C. Haddon, Evolution in Art, p. 142. J. Romilly Allen, Celtic Art in Pagan and Christian Times, pp. 51-54.
[122]. On this place-name, see p. [172], note 1.
[123]. An asterisk prefixed to these descriptions means an ancient clay-impression or “sealing,” not an actual cylinder.
[124]. A cylinder-seal of “Amenemhat, beloved of Sebek, Lord of Anu,” is in the H.-P. Collection (Cat. 3813).
[125]. Nub-hetep-tha-Khred was a daughter of Amenemhat III. (De Morgan, Dahchour, I, p. 128.)
[126]. On this title, see Newberry, El Bersheh, I, p. 8, note 3.
[127]. I.e., the Judge or Chief Justice. See my Life of Rekhmara, p. 18.
[128]. The rings, scarabs, etc., figured from the tomb of Maket have been drawn from Prof. Petrie’s Illahun, pl. XXVI.
[129]. This is probably the same place-name as the Kerŷ mentioned in the tomb of Hûŷ at Thebes as the southern boundary of Kush (Ethiopia) at the time of King Tût-ankh-amen (see [Pl. II]). It was almost certainly the modern Gebel Barkal.