IJET-V3I2P7

International Journal of Engineering and Techniques - Volume 3 Issue 2, March-April 2017
ISSN: 2395-1303 http://www.ijetjournal.org Page 43
Mechanical Engineering in Ancient Egypt, Part 43: Statues of
Horse, Leopard, Turtle and Frog
Galal Ali Hassaan
Department of Mechanical Design & Production, Faculty of Engineering,
Cairo University, Giza, Egypt
Email: galalhassaan@ymail.com
I. INTRODUCTION
This is the 43 paper in a research paper
aiming at exploring the role of ancient Egyptians in
the evolution of mechanical engineering. The paper
presents the statues industry of a number of animals
including the horse, leopard, turtle and frog. The
study covers a time span from Predynastic to Late
Periods with examples from each time period.
Wassell (1991) in her Ph.D. Thesis about
ancient Egyptian fauna studied in details some
animals lived in ancient Egypt such as horse,
donkey, pigs and fish [1]. Starker (2000) in his
book chapter about the history of working animals
in Africa stated that donkeys were recorded at
Maadi of Egypt 4000-3500 BC. The horses did not
appear in Egypt until the Third Intermediate Period
pulling chariots [2]. Rahmann (2003) in his paper
about humans and animals presented a nomogram
for the periods and regions of 25 livestock species
including horses and pigs [3].
Willekes (2013) in her Ph.D. Thesis about
horses and horsemanship in ancient world pointed
out that horses represented wealth, power and
conquest. She stated that the horse-human
relationship permeated the entirely of the ancient
world. She presented a Hyksos horse statue from
Iran 5th
century BC and another one from the same
period in the Istanbul Archaeological Museum. She
didn't refer to the horses depicted in the 18th
and
19th
Egyptian Dynasties (1330-1213 BC) [4].
Tatomir (2014) stated that domestic horses were
introduced into Egypt during the Second
Intermediate Period (around 1700 BC). Others,
based on some archaeological evidence suggested
that this horse presence was even prior to the Old
Kingdom. She presented a scarab with horse from
the Second Intermediate Period [5]. Stevenson
(2015) in his book about the Petrie Museum of
Egyptian Archaeology presented a limestone frog
carrying the ID UC43984 and a glass vessel in the
shape of a fish carrying the ID UC22418 [6].
Wikipedia (2017) wrote an article about a list of
Egyptian deities. They included 10's of ancient
Egypt deities including a fish and frog goddess [7].
Parsons (2017) wrote an article in Tour
Egypt site about pigs in ancient Egypt. She stated
that pigs were occasionally eaten in Egypt from
Predynastic into the Late Period and Graeco-Roman
times. She outlined that the Egyptian Museum in
Berlin holds a ceramic statue of a pig from Naqada
I Period and from the Third Intermediate Period,
statuette and amulets of a rooting sow nursing her
litter were popular [8]. Hassaan (2017) investigated
the evolution of mechanical engineering in ancient
Egypt through studying the production of cats, dogs
and lions statues [9], jackal, hippopotamus and
crocodile statues [10], gazelle, baboon and
RESEARCH ARTICLE OPEN ACCESS
Abstract:
This paper is the 43rd
research paper in a series investigating the evolution of mechanical engineering in ancient Egypt.
It tries to achieve this purpose through investigating the production of ancient Egyptians horse, leopard, turtle and frog statues
during the era from Predynastic to Late Period. Each statue is presented chronically with present location if known and with
engineering analysis showing its creativity. The innovation in the designs is outlined and the main concepts of mechanical
design methodology in ancient Egypt are outlined
Keywords — Mechanical engineering; ancient Egypt; horse, leopard, turtle and frog statues.

International Journal of Engineerin
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hedgehog statues [11] and bull, ibex, ram and snake
statues [12].
II. HORSE STATUES
Nevertheless the argument about the
presence of the horse in ancient Egypt, the ancient
Egyptians have used it to power the military
vehicles starting from the 18th
Dynasty. They
appreciated the horse through using it in some of
their products as depicted in the following examples:
- A wooden rider on a horse statuette from the
18th
Dynasty (1543-1292 BC) is display in the
Metropolitan Museum of Art at NY and shown
in Fig.1 [13]. The dimensions are not
This is a wonderful piece showing the horse
with broken legs (due to bad excavation)
standing or striding with the rider holding its
bridle. The mechanical designer showed the
horse wearing a black saddle with white curves
decorations.
Fig.1 Ride and horse from the 18th
Dynasty
- The second example is an ivory 146 mm
whip handle in the shape of a horse from the
reign of Amenhotep III, the 9th
the 18th
Dynasty (1388-1350 BC)
in the Metropolitan Museum
shown in Fig.2 [14]. The designer showed
the horse prancing with front legs in a
position suitable for holding the fan and the
front leg with the body in a position suitable
for the user to hold the fan firmly. He used a
International Journal of Engineering and Techniques - Volume 3 Issue 2, March
1303 http://www.ijetjournal.org
ll, ibex, ram and snake
argument about the
presence of the horse in ancient Egypt, the ancient
Egyptians have used it to power the military
Dynasty. They
hrough using it in some of
their products as depicted in the following examples:
A wooden rider on a horse statuette from the
1292 BC) is display in the
Metropolitan Museum of Art at NY and shown
The dimensions are not given.
This is a wonderful piece showing the horse
with broken legs (due to bad excavation)
standing or striding with the rider holding its
bridle. The mechanical designer showed the
horse wearing a black saddle with white curves
Dynasty [13].
is an ivory 146 mm
whip handle in the shape of a horse from the
th
Pharaoh of
1350 BC) in display
Museum of Art and
The designer showed
horse prancing with front legs in a
position suitable for holding the fan and the
front leg with the body in a position suitable
for the user to hold the fan firmly. He used a
garnet inlay and paint in producing this
amazing unit..
Fig.2 Whip handle from the 18
- The third example is a bronze hair curler ....
from Late 18th
Dynasty
Petrie Museum and shown in Fig.3 [1
The dimensions are missing. As a bronze
material, the artefact was casted, finished to
take the nice appearance shown in Fig.3 in a
position relevant to the application.
Fig.3 Hair curler from the 18
- The fourth example is
Ramses II, the 3rd
Pharaoh of the 19
Louvre Museum at Paris
[16]..
Fig.4 Ramses II ring from the 19
March-April 2017
Page 44
garnet inlay and paint in producing this
Whip handle from the 18th
Dynasty [14].
is a bronze hair curler ....
Dynasty in display in the
Museum and shown in Fig.3 [15].
The dimensions are missing. As a bronze
material, the artefact was casted, finished to
take the nice appearance shown in Fig.3 in a
position relevant to the application.
Hair curler from the 18th
Dynasty [15].
example is a golden ring for
Pharaoh of the 19th
1213 BC) in display in the
Paris and shown in Fig.4
Ramses II ring from the 19th
Dynasty [16].

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The golden ring is decorated by two running
The horses may be produced separately then welded
to the ring, or casted an integrated part with the ring
which is difficult since it complicated the mould
required for the casting process.
- The fifth and last example is a terracotta
man on a horse from Memphis produced
during the Late Period (525-
display in the Petrie Museum and shown in
Fig.5 [17]. This is a primitive design and
production indicating the poor political
situation of Egypt in this period.
Fig.5 Man and horse from Late Period
III. LEOPARD STATUES
The leopard appeared in the ancient Egyptian society
through statues from the 18th
Dynasty down to the Late and
Ptolemaic Periods. However, ruins near the pyramids of Giza
revealed leopard teeth which means that it was in Egypt
during the Old Kingdom [18]. Because it is a strong animal it
has a great appreciation in ancient Egypt specia
18th
Dynasty as will be illustrated in the following examples:
- The first example is a is a red jasper 32 mm
height leopard head with cartouche of
Hatshepsut , the 5th
Pharaoh of the 18
Dynasty (1479-1458 BC) from Thebes
display in the Metropolitan Museum of Art
and shown in Fig.6 [19]. The designer
showed the leopard closing its eyes and the
cartouche of the Pharaoh on its forehead.
The golden ring is decorated by two running horses.
The horses may be produced separately then welded
to the ring, or casted an integrated part with the ring
which is difficult since it complicated the mould
The fifth and last example is a terracotta
from Memphis produced
-404 BC) in
display in the Petrie Museum and shown in
This is a primitive design and
production indicating the poor political
situation of Egypt in this period.
Man and horse from Late Period [17].
The leopard appeared in the ancient Egyptian society
Dynasty down to the Late and
Ptolemaic Periods. However, ruins near the pyramids of Giza
which means that it was in Egypt
during the Old Kingdom [18]. Because it is a strong animal it
has a great appreciation in ancient Egypt specially during the
Dynasty as will be illustrated in the following examples:
red jasper 32 mm
leopard head with cartouche of
Pharaoh of the 18th
1458 BC) from Thebes in
Metropolitan Museum of Art
The designer
showed the leopard closing its eyes and the
cartouche of the Pharaoh on its forehead.
Fig.6 Leopard head from the 18
- The second example is a 7
leopard of Thutmose III, the 6
the 18th
Dynasty (1479-14
in the Egyptian Museum at Cairo and
in Fig.7 [20]. The wood was covered by
bitumen [20]. As wood raw material, it is
subjected to loosing a lot of its mechanical
properties with time. However
surviving but with certain deterioration of
the outer surfaces of the animal
Fig.10 Wooden leopard of Thutmose III
- The third example is a statue for Priest Anen
(served during the reign of Amenhotep III,
the 9th
Pharaoh of the 18
1350 BC) with leopard head on the front of
his dress. It is in display in the Egyptian
Museum at Turin and shown in Fig.11 [21
The Priest is wearing a full half
dress. The leopard head was used on his
dress as a symbol for strength and
the unusual character of the Priest.
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Leopard head from the 18th
Dynasty [19].
The second example is a 750 mm wooden
leopard of Thutmose III, the 6th
Pharaoh of
1425 BC) in display
in the Egyptian Museum at Cairo and shown
The wood was covered by
bitumen [20]. As wood raw material, it is
subjected to loosing a lot of its mechanical
However, still it is
but with certain deterioration of
the outer surfaces of the animal
Wooden leopard of Thutmose III [20].
The third example is a statue for Priest Anen
(served during the reign of Amenhotep III,
Pharaoh of the 18th
Dynasty (1388-
1350 BC) with leopard head on the front of
his dress. It is in display in the Egyptian
Museum at Turin and shown in Fig.11 [21].
The Priest is wearing a full half-sleeved
dress. The leopard head was used on his
dress as a symbol for strength and indicating
unusual character of the Priest.

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Fig.11 Statue of Anen from the 18th
Dynasty [21].
- The fourth example is a
Tutankhamun, the 13th
Pharaoh
Dynasty (332-1323BC) in display in the
Egyptian Museum at Cairo and shown in
Fig.12 [22]. The 856 mm height
manufactured from wood plastered and
gilded. The flail, staff, cobra on the Pharaoh
forehead and his sandals were all
manufactured from gilded bronze [23].
present the strength and encouragement of
the Pharaoh, the designer showed
the back of a leopard. The leopard, Pharaoh
base and leopard base were painted black.
- The fifth example is a leopard head from the
tomb of Pharaoh Tutankhamun of the 18
Dynasty in display in the Egyptian Museum
at Cairo and shown in Fig.12.
was covered by gesso and then overlaid by
gold sheet. The eyes was produced from
quartz [24].
Dynasty [21].
example is a statue for
Pharaoh of the 18th
in display in the
and shown in
856 mm height statue was
manufactured from wood plastered and
, cobra on the Pharaoh
d and his sandals were all
manufactured from gilded bronze [23]. To
present the strength and encouragement of
he designer showed him on
The leopard, Pharaoh
base and leopard base were painted black.
a leopard head from the
tomb of Pharaoh Tutankhamun of the 18th
Dynasty in display in the Egyptian Museum
at Cairo and shown in Fig.12. The wood
was covered by gesso and then overlaid by
gold sheet. The eyes was produced from
Fig.11 Tut on a leopard from 18
Fig.12 Leopard head from 18
- The sixth and last example is an 87 mm
height pale blue faience leopard from Late
Ptolemaic Periods (664-30 BC) in display in
the Metropolitan Museum of Art and shown
in Fig.13 [25]. This is a complete life size
statue of a leopard setting on a base. Even
though the material is a cheap
material, the product could withstand the
environmental effect for more than 2020
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Tut on a leopard from 18th
Dynasty [22].
Fig.12 Leopard head from 18th
Dynasty [24].
sixth and last example is an 87 mm
blue faience leopard from Late-
30 BC) in display in
the Metropolitan Museum of Art and shown
This is a complete life size
statue of a leopard setting on a base. Even
though the material is a cheap popular
he product could withstand the
environmental effect for more than 2020

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years and keep the details of the leopard
body and face depicted in Fig.13.
Fig.13 Leopard from Late-Ptolemaic Periods [25].
IV. TURTLE STATUES
The ancient Egyptians knew turtles and used its
meat and seashell from more than 6000 years. They
produced bracelets and rings from turtle seashell
during the Badarian Period (4400-4000 BC) and
palettes since the Amration Period (4000
[26]. The genius ancient Egyptians used turtle
shells in producing documented wonderful
household units for different purposes from Naqada
I of the Predynastic Period through the 18
of the New Kingdom as will be illustrated by the
following examples :
- The first example is pottery bowl in the
shape of a turtle from Naqada I/
(3900-3500 BC) in display in the
Metropolitan Museum of Art and shown in
Fig.14 [27]. The ancient Egyptian
mechanical engineer was genius and
successful engineer from more than 5500
years. This bowl design has fantastic
mechanical features:
 It is produced from the simplest possible
material, the Nile clay.
 It is simulated as a turtle.
years and keep the details of the leopard
body and face depicted in Fig.13.
Ptolemaic Periods [25].
The ancient Egyptians knew turtles and used its
meat and seashell from more than 6000 years. They
produced bracelets and rings from turtle seashell
4000 BC) and
palettes since the Amration Period (4000-3500 BC)
The genius ancient Egyptians used turtle
shells in producing documented wonderful
household units for different purposes from Naqada
I of the Predynastic Period through the 18th
Dynasty
of the New Kingdom as will be illustrated by the
pottery bowl in the
Naqada I/Naqada II
and shown in
The ancient Egyptian
mechanical engineer was genius and
from more than 5500
years. This bowl design has fantastic
It is produced from the simplest possible
 It is stabilized by the two front legs of the
turtle.
 It can be hold from one sid
the turtle legs and head.
Fig.14 Bowl from Naqada I/
- The second example is a
shape of a turtle from Naqada II (3500
BC) in display in the Egyptian
Berlin and shown in Fig.1
wonderful design using stone material. All
the surfaces are polished and rounded not to
harm the user. The turtle legs are used raise
and hold the vessel and increase its stability.
Fig.15 Vessel from Naqada II [26].
- The third example is a 78 mm width
greywacke palette in the shape of a turtle
from Naqada II/Naqada III (3500
in display in the Cleveland Museum of Art
at Ohio and shown in Fig.16 [28].
this is a stone item carved to take the shape
of a turtle. All the surfac
rounded in a true mechanical engineering
tradition known and applied by the Egyptian
engineer from more than 5500 years. Even
though the greywacke is one of the
relatively hardest stones, the carver could
produce perfect holes in the turt
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It is stabilized by the two front legs of the
It can be hold from one side only through
Naqada I/Naqada II [27].
The second example is a slate vessel in the
shape of a turtle from Naqada II (3500-3200
Egyptian Museum at
and shown in Fig.15 [26]. This a
wonderful design using stone material. All
the surfaces are polished and rounded not to
harm the user. The turtle legs are used raise
and hold the vessel and increase its stability.
Fig.15 Vessel from Naqada II [26].
s a 78 mm width
greywacke palette in the shape of a turtle
from Naqada II/Naqada III (3500-3050 BC)
in display in the Cleveland Museum of Art
at Ohio and shown in Fig.16 [28]. Again,
this is a stone item carved to take the shape
of a turtle. All the surfaces are smooth and
rounded in a true mechanical engineering
tradition known and applied by the Egyptian
engineer from more than 5500 years. Even
though the greywacke is one of the
relatively hardest stones, the carver could
produce perfect holes in the turtle head and

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tail. Have they got stone drills in this early
time ?. Have they used another unknown
tools ?. Archaeologists have to answer such
questions.
Fig.16 Palette from Naqada II/III [28].
- The fourth example is a 149.2 mm length
serpentine turtle from Naqada III (3200
3000 BC) in display in the Metropolitan
Museum of Art and shown in Fig.17 [29].
The ancient mechanical engineer designed
this unit using a medium hardness rock and
produced smooth rounded surfaces. What is
new in this design is a series of circles and a
number of concentric lines emerging from
the centre of the circles. This makes thi
appears as if it is an astronomical instrument.
Is it so ? .. Do the circles and lines represent
an ancient Egyptian zodiac from more than
5000 years ago !!!. How great were the
Egyptians scientists.
Fig.17 Turtle from Naqada III [29].
- The fifth example is an alabaster 68 mm
turtle from the 1st
Dynasty (3100
in display in the Metropolitan Museum of
tail. Have they got stone drills in this early
time ?. Have they used another unknown
tools ?. Archaeologists have to answer such
Fig.16 Palette from Naqada II/III [28].
is a 149.2 mm length
serpentine turtle from Naqada III (3200-
The ancient mechanical engineer designed
this unit using a medium hardness rock and
produced smooth rounded surfaces. What is
new in this design is a series of circles and a
number of concentric lines emerging from
the centre of the circles. This makes this unit
appears as if it is an astronomical instrument.
Is it so ? .. Do the circles and lines represent
an ancient Egyptian zodiac from more than
5000 years ago !!!. How great were the
e from Naqada III [29].
The fifth example is an alabaster 68 mm
Art and shown in Fig.18 [30].
are polished and completely rounded with
turtle eyes marked clearly in black.
Fig.18 Alabaster turtle from 1
- The sixth example is a 47 mm length
turtle from the 12th
Dynasty (1991
Art and shown in Fig.19 [31].
wonderful artefact was inlaid by amethyst,
turquoise, jasper and lapis lazuli. The
colouring scheme is wonderful and natural
using available stone materials. The ancient
Egyptian artist could use about 5 stone
materials and produce a piece that susta
environments and live for more than 4000
years without deterioration in body or
colour.
Fig.19 Crystal turtle from 12
- The seventh example is a
2.76 m stack of animal figurines including a
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Art and shown in Fig.18 [30]. All surfaces
are polished and completely rounded with
clearly in black.
Fig.18 Alabaster turtle from 1st
Dynasty [30].
The sixth example is a 47 mm length crystal
Art and shown in Fig.19 [31]. This
wonderful artefact was inlaid by amethyst,
turquoise, jasper and lapis lazuli. The
colouring scheme is wonderful and natural
using available stone materials. The ancient
Egyptian artist could use about 5 stone
materials and produce a piece that sustain
environments and live for more than 4000
years without deterioration in body or
Fig.19 Crystal turtle from 12th
Dynasty [31].
The seventh example is a glazed steatite
of animal figurines including a

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turtle from the 12th
Dynasty (1800 BC) in
and shown in Fig.20 [32]. The base is
decorated by inscriptions of symbols and
animals while consisting of four blocks. The
designer arranger the animals as follows: a
turtle in the middle, a frog from both sides
of the turtle, a crocodile from both sides of
the frogs and a lion from both sides of the
crocodiles as if they guarding the animals
group. All of them ar looking towards the
turtle.
Fig.20 Stack of animals from the 12th
Dynasty [32].
- The eighth example is a 15 mm stone turtle
amulet from the Old Kingdom
Kingdom (2686-1795 BC) which is a
property for the Liverpool Museums at UK
could put the details of a complete turtle in
only 15 mm length with perfect circular hole
to hang the amulet.
Fig.21 Turtle amulet from the NK/MK [33].
- The ninth example is a 22 mm height
carnelian turtle amulet from
Dynasty (1550-1450 BC) in display in the
Fig.22 [34]. All the surfaces are perfectly
polished and rounded not to harm the user.
Those feature are main characteristics of
most of the products in the ancient Egyptian
society indicating the high level of the
mechanical engineering technology in
ancient Egypt.
Dynasty (1800 BC) in
The base is
decorated by inscriptions of symbols and
animals while consisting of four blocks. The
designer arranger the animals as follows: a
ddle, a frog from both sides
of the turtle, a crocodile from both sides of
the frogs and a lion from both sides of the
crocodiles as if they guarding the animals
All of them ar looking towards the
Dynasty [32].
is a 15 mm stone turtle
amulet from the Old Kingdom-Middle
1795 BC) which is a
property for the Liverpool Museums at UK
could put the details of a complete turtle in
ly 15 mm length with perfect circular hole
Fig.21 Turtle amulet from the NK/MK [33].
The ninth example is a 22 mm height
carnelian turtle amulet from Early 18th
Fig.22 [34]. All the surfaces are perfectly
polished and rounded not to harm the user.
Those feature are main characteristics of
most of the products in the ancient Egyptian
society indicating the high level of the
mechanical engineering technology in
Fig.22 Turtle amulet from the 18
V. FROG STATUES
The ancient Egyptians had certain appreciation
for frogs. They used it as a
fertility associated with the flooding of the River
Nile [35]. This appreciation appeared in the form
of statues and figurines starting from the time of
Naqada II to the Late Period of ancient Egy
depicted in the following examples:
- The first example is a 92 mm limestone frog
shaped jar from Naqada II (3400
in display in the Archaeological Museum of
the University of California and shown in
Fig.23 [36]. The great ancient Egyptian
designer showed the from standing on its 4
legs and the eyes marked in black by a semi
precious stone. The coloured strands in the
frog body means that this is not a limestone
Limestone has structure and appearance
different than this in Fig.23 [37].
- The second example is a frog statuette from
Naqada III (3000 BC) in display in the
Cleveland Museum of Art and shown in
Fig.24 [35]. The designer shoed the frog
setting on a square base. The dimensions
nor the material are not quoted, however
most probably this is an alabaster stone
carved and polished with high profession.
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Fig.22 Turtle amulet from the 18th
Dynasty [34].
had certain appreciation
for frogs. They used it as a symbol of life and
fertility associated with the flooding of the River
Nile [35]. This appreciation appeared in the form
of statues and figurines starting from the time of
Naqada II to the Late Period of ancient Egypt as
depicted in the following examples:
92 mm limestone frog
shaped jar from Naqada II (3400-3300 BC)
in display in the Archaeological Museum of
the University of California and shown in
The great ancient Egyptian
gner showed the from standing on its 4
legs and the eyes marked in black by a semi-
precious stone. The coloured strands in the
frog body means that this is not a limestone.
Limestone has structure and appearance
different than this in Fig.23 [37].
econd example is a frog statuette from
Naqada III (3000 BC) in display in the
Cleveland Museum of Art and shown in
35]. The designer shoed the frog
setting on a square base. The dimensions
nor the material are not quoted, however
is an alabaster stone
carved and polished with high profession.

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Fig.23 Frog shaped jar from Naqada II [36].
Fig.24 Frog statuette from Naqada III [35].
- The third example is an ivory frog toy from
the New Kingdom (1550-1069 BC) in
display in the Egyptian Museum at Cairo
and shown in Fig.25 [38]. This is a dynamic
statuette where a child can open or close the
frog moth using a cord. The designer used a
revolute joint as a hinge for the bottom jaw
of the frog.
Fig.25 Frog toy from New Kingdom [38].
shaped jar from Naqada II [36].
Fig.24 Frog statuette from Naqada III [35].
The third example is an ivory frog toy from
1069 BC) in
display in the Egyptian Museum at Cairo
This is a dynamic
statuette where a child can open or close the
frog moth using a cord. The designer used a
revolute joint as a hinge for the bottom jaw
Fig.25 Frog toy from New Kingdom [38].
- The fourth example is a 9 mm
frog amulet from the 18
1296 BC) in display in the Cleveland
The designer could present a whole statuette
of the from in less than 10 mm x 10 mm
while polishing and rounding all the
surfaces.
Fig.26 Frog amulet from 18
- The fifth example is a faience frog figurine
from the New Kingdom (1550
display in the Louvre Museum and shown in
Fig.27 [40]. This artefact was produced
from green faience with eyes laid in red and
the base had a conical shape and integrated
with the frog body. It was produced with
high degree of profession since all the
surfaces are shining and rounded not to
harm the user.
Fig.27 Frog figurine from New Kingdom [40].
- The sixth example is an 11 mm length frog
amulet from Late 18th
Dynasty (1380
BC) in display in the Cleveland Museum of
Art and shown in Fig.28 [41]. The material
is not assigned. However, it may produced
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The fourth example is a 9 mm2
carnelian
frog amulet from the 18th
Dynasty (1540-
1296 BC) in display in the Cleveland
The designer could present a whole statuette
of the from in less than 10 mm x 10 mm
while polishing and rounding all the
18th
Dynasty [39].
The fifth example is a faience frog figurine
from the New Kingdom (1550-1069 BC) in
display in the Louvre Museum and shown in
This artefact was produced
from green faience with eyes laid in red and
the base had a conical shape and integrated
ith the frog body. It was produced with
high degree of profession since all the
surfaces are shining and rounded not to
Fig.27 Frog figurine from New Kingdom [40].
is an 11 mm length frog
Dynasty (1380-1330
BC) in display in the Cleveland Museum of
Art and shown in Fig.28 [41]. The material
is not assigned. However, it may produced

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from blue faience !. The design is succe
from point of view of mechanical design.
All surfaces are rounded and smooth.
Fig.28 Frog amulet from 18th
Dynasty [41].
- The seventh example is a 12 mm porphyry
frog amulet from the 19th
Dynasty (1295
The designer selection of material is
successful since it is self decorated through
the two colours and various patterns
involved. The designer could show the
complete frog in only 12 mm dimension
(length or height) keeping all surfaces
smooth and rounded.
Fig.29 Frog amulet from 19th
Dynasty [42].
- The eighth example is a frog figurine from
the Late Period (664-332 BC) in display in
the Egyptian Museum at Cairo and shown in
Fig.30 [43]. The material
dimensions are not assigned. Most properly
this a bronze artefact casted professionally
showing the frog setting on a parallelogram
and inscribed identifying the product. All
from blue faience !. The design is successful
from point of view of mechanical design.
ed and smooth.
Dynasty [41].
a 12 mm porphyry
Dynasty (1295-
The designer selection of material is
successful since it is self decorated through
the two colours and various patterns
involved. The designer could show the
12 mm dimension
(length or height) keeping all surfaces
Dynasty [42].
The eighth example is a frog figurine from
332 BC) in display in
Museum at Cairo and shown in
The material and the
dimensions are not assigned. Most properly
this a bronze artefact casted professionally
showing the frog setting on a parallelogram
and inscribed identifying the product. All
the surfaces are shining and rounded in a
good mechanical engineering tradition.
Fig.30 Frog figurine from Late Period [43].
- The ninth and last example is a
height lapis lazuli frog amulet from Late
Period (664-332 BC) in display in the
Fig.31 [44]. Even though, the lapis lazuli is
a very brittle stone [45], the ancient
Egyptian carver could carve all the details of
a setting frog on a base in a volume less
than 14 cm3
.
Fig.31 Frog amulet from Late Period [44].
VI. CONCLUSIONS
- Ancient Egyptians were pioneers in
producing all types of statues
- They used most available
materials around them to produce statues
sustained environmental effects for
thousands of years.
- The authorized horse existence in Egypt
using statues starting from the 18
March-April 2017
Page 51
the surfaces are shining and rounded in a
good mechanical engineering tradition.
Fig.30 Frog figurine from Late Period [43].
example is a 25 mm
lapis lazuli frog amulet from Late
Even though, the lapis lazuli is
a very brittle stone [45], the ancient
Egyptian carver could carve all the details of
a setting frog on a base in a volume less
amulet from Late Period [44].
Ancient Egyptians were pioneers in
statues and figurines.
They used most available-reasonable
materials around them to produce statues
nvironmental effects for
The authorized horse existence in Egypt
using statues starting from the 18th
Dynasty.

- They used wood, ivory, bronze, gold and
terracotta in producing horse statues and
figurines.
- They used horse figurines in producing a
whip and a finger-ring.
- They produced leopard since the 18th
Dynasty down to the Late and Ptolemaic
Periods.
- They produced leopard statues using jasper,
wood, gilded wood and faience.
- They produced a pottery bowl in the shape
of a turtle in Naqada II Period, a greywacke
palette in the shape of a turtle in Naqada III
Period with perfect cicular holes and a
serpentine turtle statue in Naqada III Period.
- They produced an alabaster figurine of a
turtle in the 1st
Dynasty with good finishing
and surface rounding.
- They produced a wonderful crystal turtle in
the 12th
Dynasty inlaid by amethyst,
turquoise, jasper and lapis lazuli.
- They used pottery, slate, serpentine,
alabaster, crystal, steatite and carnelian in
producing their turtles.
- The appreciated and produced frog figurines
starting from Naqada II to Late Period.
- They produced a wonderful jar in the shape
of a frog in Naqada II Period.
- They used limestone, alabaster, ivory,
carnelian, faience, porphyry, bronze and
lapis lazuli in producing their frogs figurines.
- During the time of the New Kingdom they
produced a dynamic frog with moving jaw
about a revolute joint.
- All the surfaces of the ancient Egyptian
animal statues studied in the paper were
polished and rounded in a wonderful
mechanical engineering tradition..
REFERENCES
1. B. A. Wassell, Ancient Egyptian fauna: alexicographical
study, Ph.D. Thesis, Durham University, 1991.
2. P. Starkey, The history of working animals in Africa,
Chapter 26, pp.478-502 in R. Blench and K. McDonald
(Editors), The origins and development of African
livestock, University College London Press, 2000.
3. G. Rahmann, Why do human keep animals ?, First SAFO
Workshop, Florance, 8 pages, September 5-7, 2003,
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horsemanship in ancient world, Ph.D. Thesis,
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Part XXXIX: Statues of cats, dogs, and lions,
International Journal of Emerging Engineering Research
and Technology, vol.5, issue 2, pp.36-48, 2017.
Part 40: Statues of jackal, hippopotamus and crocodile,
International Journal of Advancment in Engineering
Technology,Management and Applied Science vol.4, issue
2, pp.40-53, 2017.
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Part 42: Statues of bull, ibex, ram and snake,
International Journal of Advanced Research
Management, Technology and Engineering, vol.3, issue 3,
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BIOGRAPHY
Galal Ali Hassaan
 Emeritus Professor of System Dynamics
and Automatic Control.
 Has got his B.Sc. and M.Sc. from Cairo
University in 1970 and 1974.
 Has got his Ph.D. in 1979 from Bradford
University, UK under the supervision of
Late Prof. John Parnaby.
 Now with the Faculty of Engineering, Cairo
University, EGYPT.
 Research on Automatic Control, Mechanical
Vibrations , Mechanism Synthesis and
History of Mechanical Engineering.
 Published more than 210 research papers in
international journals and conferences.
 Author of books on Experimental Systems
Control, Experimental Vibrations and
Evolution of Mechanical Engineering.
 Chief Editor of the International Journal of
Computer Techniques.
 Member of the Editorial Board of some
international journals including IJET.
 Reviewer in some international journals.
 Scholars interested in the authors
publications can visit:
http://scholar.cu.edu.eg/galal

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