Unknown name. Wears a tripartite wig and a long garment reaching almost to the ankles, with a frontal protrusion forming the garment’s apron. The arms are crossed over the chest with no indication of the hands, which would have been inserted into the sleeves or painted. The tools are not visible due to the loss of the paint. On the back, the body shows a bulge in the wig and a slight indication of the buttocks. The feet are disproportionately large, with loss of part of the right foot. Its state of preservation is poor, with a frontal break and multiple old holes from wood-boring insects. Woodworm damage has been decisive on the face, with the disappearance of features such as the nose, eyes, or mouth. Some holes have recently been filled, especially on the face, with carpenter’s wax in a colour close to that of the wood.

After the Amarna period, a new type of ushebti appeared, depicting the deceased not as a mummy but dressed in the fashionable clothing of the time. In higher-quality stone examples, one can appreciate the formal linen garment, its pleats, the sleeves, and the front apron. At that time, the number of ushebtis per funerary assemblage was usually limited, except in royal burials. In these, it was possible to distinguish between worker-type figures and others representing foremen or chiefs of ten. In ordinary assemblages, the clothing of the living did not necessarily imply that they were foremen. Towards the end of the New Kingdom, the number of ushebtis per tomb increased considerably, while their size decreased¹ . It is in the Third Intermediate Period that the differentiation between mummiform ushebtis and foremen becomes established as the usual norm, one foreman for every ten of the former. This example was acquired on the antiquities market² . As parallels, the following may be cited by way of example: Louvre E24204; the Petrie Museum, University College, LDUCE-UC57761; the University of Birmingham, Eton Myers Collection ECM 365; and no. E-79 of the National Museum of Archaeology, Lisbon³ , and no. CEUA-006 of the Uriach Torelló Collection⁴ .