Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 94. (Budapest, 2001)

GYŐRY, HEDVIG: To the Interpretation of Pataikos Standing on Crocodiles

The uneven surface of the base of the Budapest statuette is unusual. It is only clear with the complete knowledge of the type that we are faced with the traces of the two completely indistinct crocodiles. A transitional state is reflected e.g. by a Pataikos amulet from Florence (figs. 5-6)

31 incised on the bottom, where the animals can still be identified a bit better. In the later phase of this type transformation the surface of the basement became smoothed, the crocodiles disappeared without any traces

32 and the amulet became classical type of Pataikos. As for the complete pieces of the type the two crocodiles usually lie beside each other, their heads looking forward, their tails leaning inwards and interweaving at the back under the legs of Pataikos. The arrangement of the crocodiles characteristic to the Horus cippi are common on complex versions where also the representation of other god(s) occur around the dwarf.

33 On the bottom of the Pataikos amulet of the Museum of Fine Arts, Budapest three hieroglyph signs can be seen: a vertical line ending in oval on the top, behind it a lion lying and a horizontal sign above the lion's back. It is an essential question in the interpretation of this incision whether it can be comprehended as a scene of the lion and its surroundings or it is an ordinary hieroglyph inscription or eventually a cryptography expressing the meaning of the seal by the acrophon reading of the sound volume of the signs. The lion, especially in the form of the sphinx is a very frequent element of the seal impressions both on scarabs and seal amulets.

34 In this form several gods or goddesses could be represented (although this opportunity was not used on the seals),

35 the king and the power of the king respectively could be visualised,

36 the apothropaic power against demons attributed to the lion could be indicated

37 and the idea of the regeneration

38 could also be expressed. Its acrophonic reading on the seals is m(?j) or n(b).

39 31 Free standing figure, upwards from the belly missing, on the bottom of the base two cryptographs for Atum: wdï.t + fish + cat and sun + hpr + old man. Inv.: Florence 1731 (kind information of Cristina Guidotti), reproduction by courtesy of the Soprintendenza Archeologica per la Toscana, Firenze. 32 CG 38.799, 38.800, 38.809, BM 11249. (I should like to express my gratitude to C. Andrews for her generous help during my amulet-studies in the British Museum's collection.) Brunton, G.,Qau andBadari III, London 1930, pl. XLIV, 8. 33 It can also be seen on CG 38.813. Daressy, op. cit. (note 7), pi. XLII. 34 Stoof, M., Ägyptische Siegelamulette in menschlicher und tierischer Gestalt. Eine archäologische und motivgeschichtliche Studie, Frankfurt - Berlin - Bern - New York - Paris - Wien 1992, scaraboid with human head: pp. 172-174, type II. a and II. b, baboon: pp. 194, 198, type II, falcon: pp. 213, 219, type Vila, hedgehog: Droste zu Hülfshoff, Vera von., Der Igel im Alten Ägypten, HÄB, Hildesheim 1980, no. 321 (with the name of Amon-Ra). 35 Hornung, E. - Stähelin, E., Skarabäen und andere Siegelamulette aus Basler Sammlungen, Mainz 1976, p. 126. 36 Grapow, H., Die bildlichen Ausdrücke des Ägyptischen, Leipzig 1924, pp. 69-73. 37 Wit, C. de., Le role et le sens du lion. Leiden 1951, pp- 84-90; C. de Wit, Les inscriptions des lionsgargouilles du temple d'Edfou, CdÊ 29 (1954) pp. 29-45, 3X Wit, C. de., op. cit. (note 37), pp. 158-172; Hornung - Stähelin, op. cit. (note 35), pp. 126-127. 39 Drioton, E., Trigrammes d'Amon. WZKM 54 (1957) pp. 11 -33; cf. Daumas, FT.,Valeurs phonétiques des signes hiéroglyphiques d'époque gréco-romaine. /., Montpellier 1988, pp. 230-231, nos. 343, 355.